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	<entry>
		<id>https://www.circopedia.org/index.php?title=Jakob_Busch&amp;diff=36509</id>
		<title>Jakob Busch</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=Jakob_Busch&amp;diff=36509"/>
				<updated>2021-08-31T23:26:49Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: /* The Post-War Era */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Circus Owner==&lt;br /&gt;
&lt;br /&gt;
''By Raffaele De Ritis''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Jakob Busch (1879-1948) was the founder and owner of the itinerant Circus Busch (also known as ''Circus Busch-Nürnberg'' and ''Circus Busch Wanderschau''), which was one of Germany’s (and Europe’s) most important traveling circuses in the 1930s. Based originally in Nuremberg, in Bavaria, Circus Busch found itself in Saxony at the end of WWII, in what had become East Germany; under the Communist regime, it was eventually nationalized and incorporated in 1960 into the [[VEB Zentral-Zirkus]], the State circus company of the German Democratic Republic.&lt;br /&gt;
&lt;br /&gt;
===From Traveling Menagerie To Traveling Circus===&lt;br /&gt;
&lt;br /&gt;
[[File:Jakob_Busch_portrait.jpg|thumb|right|300px|Jakob Busch (c.1930)]]The Circus Busch of Jakob Busch was not connected with the homonymous and contemporary circus buildings of the Busch circus empire, which was started in 1884 by [[Circus Busch|Paul Busch]]: Paul and Jakob Busch were not related. It must not be confused either with the itinerant Circus Busch that went on the road under the management of Paul Busch’s daughter, [[Circus Busch|Paula Busch]], after she lost her Berlin building in 1937. Paula Busch’s traveling circus was known as ''Circus Busch-Berlin'', and eventually became [[Circus Busch-Roland]], when it merged in 1963 with Circus Roland-Bremen.&lt;br /&gt;
&lt;br /&gt;
Jakob Busch was born on November 5, 1879 in Würzburg, in Northern Bavaria, Germany, in a family of fairground entertainers. His parents, Georg Busch and his wife, Karolina, née Geuder, ran a small traveling menagerie where Karolina presented wild animals as Miss Hélia. Jakob began his career as a strongman. In 1903, at age twenty-four, he launched a small one-pole tenting show of his own named ''Raubtier-Attraktion Zirkus Busch'' (&amp;quot;Wild-Animal Show Circus Busch&amp;quot;). Although it had definitely circus ambitions, the show was still in essence a small traveling menagerie, whose main draw was a cyclist turning around the walls of a bottomless basket hanging above a cage filled with lions: this was a popular type of attraction then on the fairgrounds.  &lt;br /&gt;
&lt;br /&gt;
Yet Jakob Busch’s enterprise quickly grew, following the path of such similar contemporary shows as [[Circus Sarrasani|Sarrasani]], [[Circus Krone|Krone]], and [[Circus Kludsky|Kludsky]], which in the same decade went from small traveling menageries to becoming Europe’s largest itinerant circuses. Jakob Busch, however, didn’t try to create an American-style giant three-ring circus like Krone and Kludsky (and several other German shows); like Sarrasani, he preferred to stick to the traditional one-ring format&amp;amp;mdash;albeit on a grander scale. In 1911, eight years after its modest beginnings, a poster of Circus Busch heralded [[Otto Sailer-Jackson]]&amp;amp;mdash;who was on his way to become one of the most famous cat trainers of the era. And Circus Busch was to become one of Europe’s most flamboyant circuses.&lt;br /&gt;
&lt;br /&gt;
===Revues And Water Pantomimes===&lt;br /&gt;
&lt;br /&gt;
In the late 1920s, Jakob Busch made his mark as one of the first circus directors to adapt water spectaculars (popularized by Paula Busch in her Berlin circus) to an itinerant big top, and to bring to his traveling show, under the artistic direction of [[Alfred Delbosq]], the hitherto purely urban concept of the revue&amp;amp;mdash;replete with chorus line, singers, and theatrical tableaux. Using equipment especially designed for his traveling circus, Jakob Busch dedicated the full second half of his shows to carefully dramatized water pantomimes, for which the ring was completely flooded. Their themes ranged from oriental tales to Venetian feasts, and even to an elaborate six-part spy story, ''From the Equator to the Pole'', which included all sorts of exotic animals, and a polar tableau with penguins, sea lions, and a couple of ice skaters. &lt;br /&gt;
&lt;br /&gt;
True to its beginnings, Circus Busch traveled with a large menagerie, including a herd of twelve elephants trained by the legendary Indian trainer [[Epi Vidane]], and at times, its program included no less than four cage acts. Jakob Busch presented first-class acts such as the [[The Lorch Family|Lorch Family]]’s Risley act, the celebrated cat trainer [[Vojtech Trubka]] with a mixed group of 18 animals, the [[Zacchini Family|Zacchini]] family of daredevils, large troupes of acrobats (notably the &amp;quot;gladiators&amp;quot; [[The Romanos|Romanos]]), various members of the [[The Gautier Dynasty|Gautier]] equestrian dynasty, and even the legendary equestrienne [[Therese Renz]] (1859-1938), among many others. The famous Italian bareback riding troupe of [[The Carolis|Enrico Caroli]] performed during all WWII with Circus Busch, where they originated their popular clown act, [[The Francescos]], in 1939. &lt;br /&gt;
&lt;br /&gt;
Circus Busch's advertising stated that its big top could accommodate 7,000 spectators&amp;amp;mdash;in all probability an inflated number, but it was indeed a large circus. It had its winter quarters in Nuremberg (thus its name, ''Circus Busch-Nürnberg''), traveled by rail on two special trains, and didn’t limit its tours to Germany: It performed regularly in neighboring Czechoslovakia and Austria, and even became popular in Italy, which it visited in 1931 and 1932, due to the close ties between the Fascist and Nazi regimes.&lt;br /&gt;
&lt;br /&gt;
===The Post-War Era===&lt;br /&gt;
&lt;br /&gt;
After WWII, Circus Busch had lost much of its former glory. During the War, the circus had relocated its quarters near Chemnitz in Saxony, which was now on the Eastern part of a newly divided Germany. However, Circus Busch was permitted to continue as a private entity (as was another famous German circus also stranded in East Germany, [[Circus Barlay]]). But Jakob Busch didn’t survive the decline of his circus very long: He died on April 16, 1948 in Nuremberg, where he had returned to settle his affairs.&lt;br /&gt;
&lt;br /&gt;
After its founder’s death, the circus was briefly managed by Jakob’s wife, Wilhelmina (1888-1950), then by Jakob’s heir and adoptive son, Fritz van der Heydt (1885-1951). In 1951, both circuses Busch and Barlay were nationalized and, in 1960, they became part of the [[VEB Zentral-Zirkus]], the State central circus company. In the GDR’s circus system, Circus Busch remained a prominent name, and one of the top circuses in the country. In 1990, with the dismantlement of the German Democratic Republic, Circus Busch was closed and dismissed along with the State circus company itself. The Western-German [[Circus Busch-Roland]], heir to the other Busch circus organization, bought the name and what was left of Circus Busch’s equipment.&lt;br /&gt;
&lt;br /&gt;
In 1953, a strange story appeared in the German press. Carl Stelzenmüller, a former policeman from a small village in the Bayern region, changed his family name to Busch, claiming that his mother had told him on her deathbed that he was the illegitimate son of Jakob Busch. He created and ran for a little while a modest ''Carl Busch'' circus, surviving without much success in the midst of complicated legal battles over the use of the Busch title. In the early 1980s, the circus director Alfred Scholl bought the name ''Carl Busch'' from Carl Stelzenmüller-Busch and opened a new Circus Carl Busch. Upon Scholl’s death, the circus was taken over by Alfons Willeam (1941-2009), from the Wille circus family. His family manages today Circus Carl Busch, a mid-size German circus enterprise of good quality.&lt;br /&gt;
&lt;br /&gt;
==Image Gallery==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;Gallery&amp;gt;&lt;br /&gt;
File:Jakob_Busch_portrait.jpg|Jakob Busch (c.1930)&lt;br /&gt;
File:Romanos_Poster.jpeg|The Romanos (1927)&lt;br /&gt;
&amp;lt;/Gallery&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==External Link==&lt;br /&gt;
&lt;br /&gt;
* [http://circus-carl-busch.de/ circus-carl-busch.de] &lt;br /&gt;
&lt;br /&gt;
[[Category:Circus Owners and Directors|Busch, Jakob]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=Main_Page&amp;diff=36508</id>
		<title>Main Page</title>
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				<updated>2021-08-31T02:41:52Z</updated>
		
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&amp;lt;div style=&amp;quot;top:+0.2em; font-size:98%;&amp;quot;&amp;gt; ''Circopedia was originally created with the support of the  Big Apple Circus Ltd. and inspired and funded by the [http://www.sdrubin.org/ Shelley &amp;amp; Donald Rubin Foundation]''.&amp;lt;/div&amp;gt;&amp;lt;br/&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
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&lt;br /&gt;
==In The Spotlight==&lt;br /&gt;
[[File:Big_Apple_Circus_tent_(1996).jpg|right|400px]]&lt;br /&gt;
===THE BIG APPLE CIRCUS===&lt;br /&gt;
&lt;br /&gt;
A cherished New York Institution, the original, not-for-profit Big Apple Circus was created in 1977 by Paul Binder and his juggling partner, Michael Christensen, as the performing arm of the New York School for Circus Arts. Its enormous success soon put the school in the shadows, and the circus took over as the principal activity of the organization. It became one of the world’s most respected and successful circuses—until the economic crisis of 2008, which dramatically impacted its fund-raising capacity, sadly led it to file for bankruptcy eight years later.&lt;br /&gt;
&lt;br /&gt;
Its name and equipment were sold to private investors who brought the Big Apple Circus back to life in September 2017 in its traditional winter venue, Damrosch Park, in New York’s prestigious Lincoln Center for The Performing Arts. The new Big Apple Circus quickly abandoned its spring-summer tours of the northeast United States and beyond, and limited its activity to its Lincoln Center four-month winter season. However, the Covid pandemic prevented it from performing in the winter of 2020-21. (As of August 2021, it is not yet known when or if it will resume its performances.)&lt;br /&gt;
&lt;br /&gt;
As a child, Paul Binder was occasionally taken to the circus by his parents at Madison Square Garden. &amp;quot;I do have one very powerful memory,&amp;quot; Paul said, &amp;quot;a spotlighted Unus, alone in the center ring, doing his one-finger stand on a lighted globe. It was very dramatic!&amp;quot; However, the idea that within the circus ring would lie his career never entered his mind.&lt;br /&gt;
&lt;br /&gt;
Later, Paul attended Dartmouth College, where he joined the Dartmouth Players and the Hopkins Center Repertory Theatre, and then earned an MBA at Columbia University. After a brief stint at Boston University’s School of Fine and Applied Arts, he went to work on television as stage manager for Julia Child’s cooking shows, and later as talent coordinator for The Merv Griffin Show. It was the end of the 1960s, and Paul was restless with the times.&lt;br /&gt;
&lt;br /&gt;
Meanwhile, in Walla-Walla, Washington, where he was born, Michael Christensen was struggling with a difficult childhood. Somehow, he needed to act out the feelings stirred by his uneasy life, so, quite naturally, he enrolled in the Professional Actor Training program at the University of Washington. As for the circus: &amp;quot;When the circus came to town in the summer, I helped setting up the tents with my brother in exchange for free passes. I also remember laughing uncontrollably at a clown gag—but I don’t remember who the clown was nor what was the gag.&amp;quot;.... ([[Big Apple Circus|more...]])&lt;br /&gt;
&lt;br /&gt;
==New Essays and Biographies==&lt;br /&gt;
&lt;br /&gt;
* [[Pablo Noel]], Animal Trainer&lt;br /&gt;
* [[Big Apple Circus]], History&lt;br /&gt;
* [[Gerry Cottle]], Circus Owner&lt;br /&gt;
* [[Sarah Chapman]], Aerialist&lt;br /&gt;
* [[The 3 Bragazzi]], Comedy Acrobats&lt;br /&gt;
&lt;br /&gt;
==New Videos==&lt;br /&gt;
&lt;br /&gt;
* [[Wellton_Video_(2010)|John Wellton]], Comedy Juggler (2010)&lt;br /&gt;
* [[Espanas_Video_(1983)|The Flying Españas]], Flying Trapeze (1983)&lt;br /&gt;
* [[Wu_Zhengdan-Wei_Baohua_Video_(2008)|Wu Zhengdan &amp;amp; Wei Baohua]], Acrobatic Adagio (2008)&lt;br /&gt;
* [[Duo_Unity_Video_(2016)|Duo Unity]], Cyr Wheel (2016)&lt;br /&gt;
* [[Credo_Video_(2017)|Trio Credo]], Russian Barre (2017)&lt;br /&gt;
&lt;br /&gt;
==New Oral Histories==&lt;br /&gt;
&lt;br /&gt;
* [[BAC_Blumberg_Video_(1977)|''For A Moment You Fly'']], The First Season of The Big Apple Circus (1977)&lt;br /&gt;
* [[Durov_Documentary_Video_(c.2000)|Vladimir Durov Documentary]] on Russian Television (c.2000)&lt;br /&gt;
* [[Dolly_Jacobs_Interview_Video_(2018)|Dolly Jacobs Interview]] at The Ringling (2018)&lt;br /&gt;
* [[Pinito_del_Oro_RTE_Video_(1970)|Pinito del Oro's Interview]] on Spanish Television (1970)&lt;br /&gt;
* [[Eradze_Video_(2015)|Gia Eradze]]'s Interview on SSU TV (2015)&lt;br /&gt;
&lt;br /&gt;
==Circopedia Books==&lt;br /&gt;
&lt;br /&gt;
* [[Circopedia Books|Philip Astley &amp;amp; The Horsemen who invented the Circus]], by Dominique Jando (2018)&lt;br /&gt;
&lt;br /&gt;
==A Message from Dominique Jando==&lt;br /&gt;
&lt;br /&gt;
''CIRCOPEDIA is a constantly evolving and expanding archive of the international circus. New videos, biographies, essays, and documents are added to the site on a weekly&amp;amp;mdash;and sometimes daily&amp;amp;mdash;basis. Keep visiting us: even if today you don't find what you're looking for, it may well be here tomorrow! And if you are a serious circus scholar and spot a factual or historical inaccuracy, do not hesitate to [[Circopedia:Contact|contact us]]: we will definitely consider your remarks and suggestions.'' &lt;br /&gt;
&lt;br /&gt;
:'''Dominique Jando'''&lt;br /&gt;
:Founder and Curator&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
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		<title>Main Page</title>
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				<updated>2021-08-31T02:39:35Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: &lt;/p&gt;
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&amp;lt;div style=&amp;quot;font-size:175%; border:none; margin:0; padding:.1em; color:#996666;&amp;quot;&amp;gt;Welcome! ✫ Bienvenue! ✫ Willkommen! ✫ Добро Пожаловать!&amp;lt;/div&amp;gt;&amp;lt;div style=&amp;quot;font-size:175%; border:none; margin:0; padding:.1em; color:#996666;&amp;quot;&amp;gt;Bienvenida! ✫ Benvenuto! ✫ 歡迎 ! ✫ Vítejte! ✫ Καλώς ήρθατε!&amp;lt;/div&amp;gt;&amp;lt;div style=&amp;quot;font-size:175%; border:none; margin:0; padding:.1em; color:#996666;&amp;quot;&amp;gt;Üdvözöljük! ✫ Добре Дошли! ✫ Welkom! ✫ Ласкаво Просимо!&amp;lt;/div&amp;gt;&amp;lt;div style=&amp;quot;font-size:165%; border:none; margin:0; padding:.1em; color:#996666;&amp;quot;&amp;gt;Velkommen! ✫ Tervetuloa! ✫ Дабро Запрашаем! ✫ Välkommen!&amp;lt;/div&amp;gt;&amp;lt;br/&amp;gt;&lt;br /&gt;
&amp;lt;div style=&amp;quot;top:+0.2em; font-size:98%;&amp;quot;&amp;gt; ''Circopedia was originally created with the support of the  Big Apple Circus Ltd. and inspired and funded by the [http://www.sdrubin.org/ Shelley &amp;amp; Donald Rubin Foundation]''.&amp;lt;/div&amp;gt;&amp;lt;br/&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
==In The Spotlight==&lt;br /&gt;
[[File:Big_Apple_Circus_tent_(1996).jpg|right|400px]]&lt;br /&gt;
===THE BIG APPLE CIRCUS===&lt;br /&gt;
&lt;br /&gt;
A cherished New York Institution, the original, not-for-profit Big Apple Circus was created in 1977 by Paul Binder and his juggling partner, Michael Christensen, as the performing arm of the New York School for Circus Arts. Its enormous success soon put the school in the shadows, and the circus took over as the principal activity of the organization. It became one of the world’s most respected and successful circuses—until the economic crisis of 2008, which dramatically impacted its fund-raising capacity, sadly led it to file for bankruptcy eight years later.&lt;br /&gt;
&lt;br /&gt;
Its name and equipment were sold to private investors who brought the Big Apple Circus back to life in September 2017 in its traditional winter venue, Damrosch Park, in New York’s prestigious Lincoln Center for The Performing Arts. The new Big Apple Circus quickly abandoned its spring-summer tours of the northeast United States and beyond, and limited its activity to its Lincoln Center four-month winter season. However, the Covid pandemic prevented it from performing in the winter of 2020-21. (As of August 2021, it is not yet known when or if it will resume its performances.)&lt;br /&gt;
&lt;br /&gt;
As a child, Paul Binder was occasionally taken to the circus by his parents at Madison Square Garden. &amp;quot;I do have one very powerful memory,&amp;quot; Paul said, &amp;quot;a spotlighted Unus, alone in the center ring, doing his one-finger stand on a lighted globe. It was very dramatic!&amp;quot; However, the idea that within the circus ring would lie his career never entered his mind.&lt;br /&gt;
&lt;br /&gt;
Later, Paul attended Dartmouth College, where he joined the Dartmouth Players and the Hopkins Center Repertory Theatre, and then earned an MBA at Columbia University. After a brief stint at Boston University’s School of Fine and Applied Arts, he went to work on television as stage manager for Julia Child’s cooking shows, and later as talent coordinator for The Merv Griffin Show. It was the end of the 1960s, and Paul was restless with the times.&lt;br /&gt;
&lt;br /&gt;
Meanwhile, in Walla-Walla, Washington, where he was born, Michael Christensen was struggling with a difficult childhood. Somehow, he needed to act out the feelings stirred by his uneasy life, so, quite naturally, he enrolled in the Professional Actor Training program at the University of Washington. As for the circus: &amp;quot;When the circus came to town in the summer, I helped setting up the tents with my brother in exchange for free passes. I also remember laughing uncontrollably at a clown gag—but I don’t remember who the clown was nor what was the gag.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Both Paul and Michael ended up in San Francisco, where they met at the San Francisco Mime Troupe. During the late 1960s and early 1970s, San Francisco was the epicenter of a whole era of student revolt and social change. The San Francisco Mime Troupe was taking in active part in that change through a political street-theater movement aimed at stimulating people through outrageous, right-in-your-face physicality.... ([[Big Apple Circus|more...]])&lt;br /&gt;
&lt;br /&gt;
==New Essays and Biographies==&lt;br /&gt;
&lt;br /&gt;
* [[Pablo Noel]], Animal Trainer&lt;br /&gt;
* [[Big Apple Circus]], History&lt;br /&gt;
* [[Gerry Cottle]], Circus Owner&lt;br /&gt;
* [[Sarah Chapman]], Aerialist&lt;br /&gt;
* [[The 3 Bragazzi]], Comedy Acrobats&lt;br /&gt;
&lt;br /&gt;
==New Videos==&lt;br /&gt;
&lt;br /&gt;
* [[Wellton_Video_(2010)|John Wellton]], Comedy Juggler (2010)&lt;br /&gt;
* [[Espanas_Video_(1983)|The Flying Españas]], Flying Trapeze (1983)&lt;br /&gt;
* [[Wu_Zhengdan-Wei_Baohua_Video_(2008)|Wu Zhengdan &amp;amp; Wei Baohua]], Acrobatic Adagio (2008)&lt;br /&gt;
* [[Duo_Unity_Video_(2016)|Duo Unity]], Cyr Wheel (2016)&lt;br /&gt;
* [[Credo_Video_(2017)|Trio Credo]], Russian Barre (2017)&lt;br /&gt;
&lt;br /&gt;
==New Oral Histories==&lt;br /&gt;
&lt;br /&gt;
* [[BAC_Blumberg_Video_(1977)|''For A Moment You Fly'']], The First Season of The Big Apple Circus (1977)&lt;br /&gt;
* [[Durov_Documentary_Video_(c.2000)|Vladimir Durov Documentary]] on Russian Television (c.2000)&lt;br /&gt;
* [[Dolly_Jacobs_Interview_Video_(2018)|Dolly Jacobs Interview]] at The Ringling (2018)&lt;br /&gt;
* [[Pinito_del_Oro_RTE_Video_(1970)|Pinito del Oro's Interview]] on Spanish Television (1970)&lt;br /&gt;
* [[Eradze_Video_(2015)|Gia Eradze]]'s Interview on SSU TV (2015)&lt;br /&gt;
&lt;br /&gt;
==Circopedia Books==&lt;br /&gt;
&lt;br /&gt;
* [[Circopedia Books|Philip Astley &amp;amp; The Horsemen who invented the Circus]], by Dominique Jando (2018)&lt;br /&gt;
&lt;br /&gt;
==A Message from Dominique Jando==&lt;br /&gt;
&lt;br /&gt;
''CIRCOPEDIA is a constantly evolving and expanding archive of the international circus. New videos, biographies, essays, and documents are added to the site on a weekly&amp;amp;mdash;and sometimes daily&amp;amp;mdash;basis. Keep visiting us: even if today you don't find what you're looking for, it may well be here tomorrow! And if you are a serious circus scholar and spot a factual or historical inaccuracy, do not hesitate to [[Circopedia:Contact|contact us]]: we will definitely consider your remarks and suggestions.'' &lt;br /&gt;
&lt;br /&gt;
:'''Dominique Jando'''&lt;br /&gt;
:Founder and Curator&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=The_Casartelli_Family&amp;diff=36506</id>
		<title>The Casartelli Family</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=The_Casartelli_Family&amp;diff=36506"/>
				<updated>2021-08-27T17:18:18Z</updated>
		
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&lt;hr /&gt;
&lt;div&gt;[[File:Circo_Casartelli_97.jpg|right|300px]]&lt;br /&gt;
''By Raffaele de Ritis''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Circo Medrano-Casartelli==&lt;br /&gt;
&lt;br /&gt;
The Casartelli family is one of Italy’s most prominent circus families; they are also well known in the Mediterranean countries, the Balkans, and even Israel, where they tour regularly&amp;amp;mdash;although the name Casartelli rarely appears on their circuses’ marquees. They have used different titles over the years, most famously ''Medrano''&amp;amp;mdash;a title they purchased from the [[The Swoboda Family|Swoboda]] family of Austria, and which had no connection (beside the use of its famous name) with the legendary [[Cirque Medrano (Paris)|Parisian circus]].  &lt;br /&gt;
&lt;br /&gt;
The Casartellis run perhaps the most widely traveled circus organization in activity, having visited no less than twenty countries, some regularly, over the past seventy years (as of 2020)&amp;amp;mdash;sometimes with up to three units touring simultaneously. They are also active in the safari and theme park business. In contrast to typical century-old Italian circus dynasties, the Casartelli family managed to become in just a few decades one of the largest circus families in Europe; it counts today about one hundred members. &lt;br /&gt;
&lt;br /&gt;
They have revived at its best the prewar tradition of the great European traveling circuses-and-menagerie, with a large family-based company surrounded by some of the best acts in business. As artists, especially equestrians and animal trainers, the Casartellis won two Gold Clowns at the [[International Circus Festival of Monte Carlo]] (in 1996 and 2007), and they have given six command performances for four different Popes at the Vatican.&lt;br /&gt;
&lt;br /&gt;
===Mamma Rosina and Circo Aurora===&lt;br /&gt;
&lt;br /&gt;
The first known Casartelli active in the circus was Giuseppe Casartelli, who performed in the 1850s&amp;amp;mdash;although not much is known of him. His sons, Pietro (1860-1922), who was known as a good hand-balancer, and Federico (?-?), an acrobat and clown, started the first Casartelli circus, with the help of their numerous offspring. As it was common in Italian circus families of the time, all of them were trained acrobats and equestrians (notably in bareback riders). When Pietro’s elder son, Umberto, better known as Romeo (1893-1933), died in 1933, the family split. &lt;br /&gt;
&lt;br /&gt;
Umberto’s wife, the courageous and strong-willed Rosina, née [[The Gerardi Fanily|Gerardi]] (1898-1974), went back on the road with her son Leonida (1924-1978) and her daughters Jonne (1919-1999), Liliana (1921-2004), and Lucina (1931- 2003). She became the matriarch of the Casartelli family, establishing through her progeny the basis of the Casartelli circus dynasty. With the three horses and a caravan she received after the family split, Rosina began to move slowly from the Italian northeast to the Piedmont region, hoping to rejoin her family’s Circo Gerardi. She set up a small traveling outdoor arena, offering equestrian and aerial performances with her children, while the audience sat on soapboxes. &lt;br /&gt;
&lt;br /&gt;
What was originally a survival move actually paid off: By 1936, Rosina’s show was known as the ''Arena Rosa''; by 1939, it was a full-fledged circus performing under a second-hand big top purchased from the [[The Togni Family|Togni]] circus. By 1941, her circus had become a legitimate and respectable enterprise, known as ''Circo Aurora''. During WWII, it played regularly the fairs of Tuscany, and Rosina combined her efforts in the winter with the Tognis, who ran what was by far at the time the most important circus in the country&amp;amp;mdash;and benefitted from the protection of the Fascist government. This association led to several Togni-Casartelli marriages, creating multiple ties between the two families.&lt;br /&gt;
&lt;br /&gt;
By the end of the war, Rosina’s sons and nephews had already produced dozens of new family members, and her son Leonida took over the reins of the ever-growing family circus. At the time, Italian circus tours centered on a calendar of seasonal fairs, of which one or more circuses were generally the main feature. It was established by the [[Ente Nazionale Circhi]] (the Italian circus proprietor’s association), which used for this purpose a specific ranking system.&lt;br /&gt;
&lt;br /&gt;
In 1949, three circuses were in the &amp;quot;first class&amp;quot; category: [[The Orfei Family|Orfei]], Togni, and [[The Jarz Family|Jarz]]. Leonida Casartelli’s Circo Aurora quickly reached the &amp;quot;second class,&amp;quot; along with [[The Zamperla|Zamperla]], [[Alberto Zoppé|Zoppé]], and [[The Cristiani Family|Cristiani]]. Being in a higher category meant an exclusive tour of the largest regional fairs of Italy, and consequently prosperous business. And business was booming: After having bought his first elephant, Leonida acquired in 1950 a group of lions trained by Amedeo Gerardi, which he presented himself.&lt;br /&gt;
&lt;br /&gt;
Under Leonida’s management, Circo Aurora regularly booked international acts, and it continued his association with the Togni family through the 1950s. In 1958, Circo Aurora caught the attention of Spanish impresario [[Osvaldo Silvestrini]], who regularly brought over foreign circuses in Cataluña&amp;amp;mdash;among which the Italian Togni, Jarz , and Cristiani circuses, and the French Beautour, Bostok-Robba, and [[The Bouglione Family|Bouglione]]. Circo Aurora’s success in Spain made it the first foreign company to expand its tour to other Spanish regions. &lt;br /&gt;
&lt;br /&gt;
===A Circus Of Many Names===&lt;br /&gt;
&lt;br /&gt;
In 1959 Leonida Casartelli’s circus, which was growing, changed its name to ''Circo Coliseum'' in order to return to Spanish towns that Circo Aurora had already visited the previous season. Circo Coliseum actually improved considerably on the original Aurora, traveling with the first tent equipped with a prototype of the &amp;quot;Italian&amp;quot; elongated cupola, and presenting a water pantomime. The show featured also some of the best Italian acrobats of the time, among whom the banquine act of the [[The Nicolodi Family|Nicolodis]], and the [[Duo Larible|Larible]] brothers’ Washington trapeze act. A group of liberty horses was also added, and the circus’s interior furnishings were improved&amp;amp;mdash;somehow influenced by the Spanish circus impresario [[Arturo Castilla]]’s decorative style. &lt;br /&gt;
&lt;br /&gt;
The Casartellis’ Spanish tour ended in 1960. Back in Italy, in the early 1960s, the circus’s name switched frequently from ''Coliseum'' to ''Kerr-Kroll'' and back. The latter title was designed to compete with that of [[Circus Krone]], the giant German circus, which often toured in Italy at the time. In April 1963, Leonida Casartelli took his circus into a sport arena in Istanbul, Turkey. Without informing the Casartellis, the local producer, Osman Kavran, advertised the circus as &amp;quot;MED.RA.N.O. presents Circo Casartelli&amp;quot;; the ambiguous acronym was meant to stand for ''MEDiterranean Radiotelevision And News Organization''. &lt;br /&gt;
&lt;br /&gt;
The Swoboda family, who had visited Turkey successfully before with their Austrian Circus Medrano, tried to have the use of that title, in whatever spelling, suppressed, but it was to no avail. Under the same banner, the Casartellis went afterward on a Turkish tour that extended to Sofia, in Bulgaria. When they returned to Italy (and subsequently visited other southern European countries) they adopted the title ''Circo di Barcelona'', and presented a lavish Spanish-style production, replete with a flamenco ballet company. In 1968 the circus visited Israel for the first time. &lt;br /&gt;
&lt;br /&gt;
In the following few years, they used a variety of names (sometimes for several units visiting different countries): ''Circo Nazionale Togni'', ''Circo di Francia'', ''Circo Tokio'', ''Magic Circus'', ''Circo di Israele'', and finally, in 1971, the Tognis’ ''Circo Heros'' title. However, by 1972, in spite of its numerous name changes, the Casartelli enterprise had become one of Italy’s largest circuses, and it was finding its own identity. The only major Italian circus not using railroad transportation, its logistics were smooth, and its productions were sumptuous, with danced introductions to the acts, a big orchestra, and elaborate scenery. And whereas Italian circuses flirted with water pantomimes, ice shows and three-ring hippodrome spectaculars, Casartelli prided itself on being the only major circus faithful to one-ring, classic format&amp;amp;mdash;&amp;quot;Il Circo al 100 per 100&amp;quot;, as it advertised itself. &lt;br /&gt;
&lt;br /&gt;
===Medrano &amp;amp;mdash; Il Circo Famoso Nel Mondo===&lt;br /&gt;
&lt;br /&gt;
Still, Leonida felt he still had to develop two important elements for his circus: a name with a strong popular appeal, and a big menagerie, as had become the norm in most major circuses in the northern part of Europe. The name ''Medrano'' had gained great popularity in Italy and in the Mediterranean countries. In these regions, the ''Medrano'' title was not connected to the celebrated Parisian circus, but to the circus founded in Austria in 1904 by [[Ludwig Swoboda]] (1881-1952), which was initially called [[Zirkus Lajos]] (''Lajos'' is the equivalent of ''Ludwig'' in Hungarian). &lt;br /&gt;
&lt;br /&gt;
In 1920, for a tour of Poland, where the name Lajos was sounding a little too Hungarian (and was thus politically incorrect), Swoboda changed his circus’s name, which became &amp;quot;Medrano from Wien&amp;quot;. The choice of ''Medrano'' had been obviously inspired to Ludwig Swoboda by the homonymous Parisian institution, then at the peak of its glory. ([[Jérôme Medrano]] repeatedly fought to prevent the illicit use of his name out of the French borders, but without success). &lt;br /&gt;
&lt;br /&gt;
And so, the Swobodas  toured extensively in Eastern Europe, the Balkans, and the Mediterranean countries&amp;amp;mdash;including Italy&amp;amp;mdash;under the title ''Medrano'' until the 1960s. After Ludwig’s death in 1952, the circus was managed by his daughters&amp;amp;mdash;three of whom, Therese, Anita and Wanda, had achieved considerable fame with their equestrian act, which they performed as the [[The Swoboda Family|Medrano Sisters]]. Circus Medrano-Swoboda (as it became known in the business to avoid confusion with its French counterpart) had eventually ceased its activities in 1969. &lt;br /&gt;
&lt;br /&gt;
Three of the Swoboda sisters, Therese, Anita and Helena (Hella), had married and settled in Italy, where they had rented the ''Medrano'' name to various Italian circuses. Therese had died in 1951, and Anita eventually left the circus; Hella, who had married Renato Medini, of the famous Italian circus family, eventually remained sole owner of the title. In 1972, ''Medrano'' seemed to Leonida Casartelli a perfect name for his circus: Casartelli exploited the same market as had the Swobodas, a market where the ''Medrano'' title had gained, over the years, prestige and recognition. He made a deal with Renato Medini, and legally purchased a name that belonged to the seller somewhat illegitimately. (Other abusive uses of the ''Medrano'' title would later appear in Europe.) &lt;br /&gt;
&lt;br /&gt;
The advertising of the new Circo Medrano announced &amp;quot;Medrano – Il Circo Famoso nel Mondo&amp;quot;, and introduced a series of colorful movie-style posters, designed by the painter Renato Casaro, which stressed Circo Medrano’s main feature: its vast animal collection. Leonida Casartelli had aggressively and quickly assembled one of the best traveling zoos of the era. His was the first Italian circus to introduce in its menagerie African elephants, giraffes, a rhino, an orangutan, and, as a star attraction, a couple of gorillas. &lt;br /&gt;
&lt;br /&gt;
Beside the horses, the stables included zebras, camels, and all sorts of exotic animals, and the cage wagons housed cats of every kind, monkeys, and even a host of colorful tropical birds. These animals were taken care of by fine animal trainers, with such famous names as Houcke, McManus, Smith, and Beautour, followed in time by some of Leonida’s sons. Davio (b.1956) became an elephant specialist, and Heros (b.1949) an expert equestrian&amp;amp;mdash;while Elio (b.1952) took care of the circus administration and performances, and their sisters Ghisi (b.1944), Jose (1947-1997), and Liviana (b.1960), supervised the different departments of the circus. &lt;br /&gt;
&lt;br /&gt;
They all were performers, too, who participated in various family acts (notably a beautiful high school ensemble), and they were surrounded by some of the greatest acts of the period. One of the trademarks of Medrano-Casartelli (as the circus would become known in the business) was the presentation of &amp;quot;exotic&amp;quot; troupes of performers&amp;amp;mdash;African dancers, Moroccan tumblers, teeterboard troupes from the Balkans&amp;amp;mdash;in the manner of the great German circuses ([[Circus Hagenbeck|Hagenbeck]], [[Circus Sarrasani|Sarrasani]]…) of pre-war Europe.&lt;br /&gt;
&lt;br /&gt;
===An Expanding Circus Empire===&lt;br /&gt;
&lt;br /&gt;
Leonida Casartelli died in 1978 in a car accident. The management of Circo Medrano was taken over by one of his nephews, Ugo De Rocchi, who expanded Medrano’s foreign tours, and emphasized the &amp;quot;grandeur&amp;quot; of the circus. For the 1980 winter season in Rome, Medrano set up an impressive display of three big tops and, in the menagerie tent, offered a shark fight&amp;amp;mdash;a first in Europe! The following winter, in Milan, [[The Knie Dynasty|Louis Knie, Jr.]] joined the company with his tigers and elephants; later, in the spring, 250,000 people visited the circus in Tel Aviv. The 1982 season even saw the circus in Vienna, in direct competition with the giant Circus Krone.  &lt;br /&gt;
&lt;br /&gt;
In 1987, Medrano-Casartelli did its first tour in France, where its impressive menagerie&amp;amp;mdash;the like of which had not been seen in that country for a long while&amp;amp;mdash;was a sensation. But in France, where the title ''Medrano'' was duly protected and was the exclusive property of the Medrano family, the Casartellis were forced to change the name of their circus, which disappeared from all the vehicles and other visible locations and was replaced by ''Circo Italiano''. The show, which included a water pantomime, was presented by the famous French ringmaster, [[Sergio]].&lt;br /&gt;
&lt;br /&gt;
In the winter of 1993, the circus stayed four months in Athens, Greece, presenting two different programs in succession. During the 1990s, a second Casartelli unit traveled with water spectaculars and circus ice shows throughout Europe. At the same time, the family interests were expanded with the purchase of some of Italy’s biggest zoos and theme parks. &lt;br /&gt;
&lt;br /&gt;
Meanwhile, the extended Casartelli family spread around the globe: [[David Larible]], the son of Lucina Casartelli, became a world-famous clown, and his sister, [[Vivien Larible|Vivien]], a successful trapeze artist; of Liliana’s sons (who had married Wioris Togni), Holer became one of Europe’s best car stuntmen, and Divier, a major sport arena entrepreneur; Steve and Ronni Bello, the sons of Jose (who had married the juggler Luciano Bello), starred in a remarkable risley act at [[Circus Roncalli]], and then in [[Cirque du Soleil]]’s ''Varekai''. In 1996 the family created an extraordinary, twenty-five-minute equestrian display called ''Festa del Cavallo'', in which a dozen family members combined pyramids on horseback, jockey act, high school, pas-de-deux and liberty presentations. It received a Gold Clown at the [[International Circus Festival of Monte Carlo]]. Afterwards, in 1997, the Casartellis did a short tour in France, this time using their own name as a title: ''Circo Casartelli''.&lt;br /&gt;
&lt;br /&gt;
===The Casartellis Today===&lt;br /&gt;
&lt;br /&gt;
After 2000, Ugo De Rocchi’s interests became concentrated on the family’s theme park business, and the control of the circus passed into the hands of Leonida’s three sons, Heros, Davio, and Elio. In 2007, the Casartelli family won for the second time a Gold Clown at the Monte Carlo festival, with a pas-de-deux on horseback, two equestrian displays, and ''Aladdin'', an &amp;quot;oriental&amp;quot; circus pantomime in the grand old classic manner, which included no less that fifty performers and assistants (mostly family members), with a cornucopia of animals, among which a group of African elephants, a kangaroo, and two giraffes.&lt;br /&gt;
&lt;br /&gt;
Circo Medrano spends basically the winter months in Italy with one or two units, and spends the rest of the year on tour abroad. Davio, who has created a spectacular act with an African elephant and two tigers, has toured with [[Circus Louis Knie]] in Austria and Germany, and with [[Cirque Arlette Gruss]] in France. Elio’s son, Brian (b.1977), took charge of the numerous exotic animals, and has produced an equestrian pas-de-deux with his sister Ingrid (b.1979), which includes Ingrid’s balancing on one foot on her brother’s head, while they are riding on horseback&amp;amp;mdash;a trick never seen before in the rich annals of the equestrian arts.&lt;br /&gt;
&lt;br /&gt;
For its 2011 season, Circo Medrano-Casartelli was able to advertise (and truly show) three Gold and five Silver Clown winners from the International Circus Festival of Monte-Carlo&amp;amp;mdash;a feat that illustrates well the exceptional quality of their circus productions. Since 1990, the Casartellis have performed in Austria, Spain, France, Turkey, Greece, Israel, Cyprus, Malta, Serbia, Croatia, Slovenia, Syria, Bulgaria, Romania, Hungary, and Czechoslovakia. They are indeed the greatest ambassadors of the grand Italian circus tradition.&lt;br /&gt;
&lt;br /&gt;
==Suggested Reading==&lt;br /&gt;
&lt;br /&gt;
* Alessandro Cervelatti, ''Questa Sera Grande Spettacolo'' (Milano, Edizione Avanti!, 1961) &lt;br /&gt;
* Enrico and Serena Bassano, ''Una donna, un circo: Rosina Casartelli'' (Genova, La Stampa, 1997)&lt;br /&gt;
* Alessandra Litta Modignani, Sandra Montovani, ''Il circo della memoria'' (Trento, Publistampa Edizioni, 2008) — ISBN 978-88-902506-7-5&lt;br /&gt;
* Raffaele de Ritis, ''Storia del Circo - degli acrobati egizi al Cirque du Soleil'' (Roma, Bulzoni Editore, 2008) — ISBN 978-88-7870-317-9&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Video: [[Eros_Casartelli_Video_(1987)|Eros Casartelli, mixed animal act]], at the International Circus Festival of Monte Carlo (1987)&lt;br /&gt;
&lt;br /&gt;
==Image Gallery==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;Gallery&amp;gt;&lt;br /&gt;
File:Orfei_Casartelli_Togni.jpg|Ferdinando Togni, Darix Togni, Leonida Casartelli and Nando Orfei (c.1970)&lt;br /&gt;
File:Medrano_Casartelli.jpg|Poster for Circo Medrano (1974)&lt;br /&gt;
File:Casartelli_Israel.jpg|Circo Medrano in Israel (1985)&lt;br /&gt;
File:Casartelli_France.jpg|Circo Casartelli in France (1997)&lt;br /&gt;
File:Circo_Casartelli_97.jpg|Circo Casartelli in France (1997)&lt;br /&gt;
File:Casartelli_facade.jpg|Circo Medrano Façade (c.2015)&lt;br /&gt;
File:Casartelli_facade_night.jpg|Circo Medrano façade by night (c.2015)&lt;br /&gt;
File:Casartelli_Greece.jpg|Poster for Circo Medrano in Greece (2019)&lt;br /&gt;
File:Medrano-Casartelli_Firenze.jpg|Poster for Circo Medrano in Florence (2019)&lt;br /&gt;
&amp;lt;/Gallery&amp;gt;&lt;br /&gt;
&lt;br /&gt;
[[Category:History|Casartelli Family]][[Category:Circus Owners and Directors|Casartelli Family]][[Category:Animal Trainers|Casartelli Family]][[Category:Exotic Animals|Casartelli Family]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=File:Casartelli_facade_night.jpg&amp;diff=36505</id>
		<title>File:Casartelli facade night.jpg</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=File:Casartelli_facade_night.jpg&amp;diff=36505"/>
				<updated>2021-08-27T17:17:31Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: &lt;/p&gt;
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&lt;div&gt;The façade of Circo Medrano-Casartelli by night (c.2015) &amp;amp;mdash; ''Photo X''&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Biography: [[The Casartelli Family]]&lt;br /&gt;
&lt;br /&gt;
[[Category:Photo Archive|Casartelli]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=File:Casartelli_facade_night.jpg&amp;diff=36504</id>
		<title>File:Casartelli facade night.jpg</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=File:Casartelli_facade_night.jpg&amp;diff=36504"/>
				<updated>2021-08-27T17:16:25Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: The façade of Circo Medrano-Casartelli by night (c.2015) &amp;amp;mdash; ''Photo X''&lt;/p&gt;
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&lt;div&gt;The façade of Circo Medrano-Casartelli by night (c.2015) &amp;amp;mdash; ''Photo X''&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=The_Casartelli_Family&amp;diff=36503</id>
		<title>The Casartelli Family</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=The_Casartelli_Family&amp;diff=36503"/>
				<updated>2021-08-27T17:14:37Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: /* Image Gallery */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;[[File:Circo_Casartelli_97.jpg|right|300px]]&lt;br /&gt;
''By Raffaele de Ritis''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Circo Medrano-Casartelli==&lt;br /&gt;
&lt;br /&gt;
The Casartelli family is one of Italy’s most prominent circus families; they are also well known in the Mediterranean countries, the Balkans, and even Israel, where they tour regularly&amp;amp;mdash;although the name Casartelli rarely appears on their circuses’ marquees. They have used different titles over the years, most famously ''Medrano''&amp;amp;mdash;a title they purchased from the [[The Swoboda Family|Swoboda]] family of Austria, and which had no connection (beside the use of its famous name) with the legendary [[Cirque Medrano (Paris)|Parisian circus]].  &lt;br /&gt;
&lt;br /&gt;
The Casartellis run perhaps the most widely traveled circus organization in activity, having visited no less than twenty countries, some regularly, over the past seventy years (as of 2020)&amp;amp;mdash;sometimes with up to three units touring simultaneously. They are also active in the safari and theme park business. In contrast to typical century-old Italian circus dynasties, the Casartelli family managed to become in just a few decades one of the largest circus families in Europe; it counts today about one hundred members. &lt;br /&gt;
&lt;br /&gt;
They have revived at its best the prewar tradition of the great European traveling circuses-and-menagerie, with a large family-based company surrounded by some of the best acts in business. As artists, especially equestrians and animal trainers, the Casartellis won two Gold Clowns at the [[International Circus Festival of Monte Carlo]] (in 1996 and 2007), and they have given six command performances for four different Popes at the Vatican.&lt;br /&gt;
&lt;br /&gt;
===Mamma Rosina and Circo Aurora===&lt;br /&gt;
&lt;br /&gt;
The first known Casartelli active in the circus was Giuseppe Casartelli, who performed in the 1850s&amp;amp;mdash;although not much is known of him. His sons, Pietro (1860-1922), who was known as a good hand-balancer, and Federico (?-?), an acrobat and clown, started the first Casartelli circus, with the help of their numerous offspring. As it was common in Italian circus families of the time, all of them were trained acrobats and equestrians (notably in bareback riders). When Pietro’s elder son, Umberto, better known as Romeo (1893-1933), died in 1933, the family split. &lt;br /&gt;
&lt;br /&gt;
Umberto’s wife, the courageous and strong-willed Rosina, née [[The Gerardi Fanily|Gerardi]] (1898-1974), went back on the road with her son Leonida (1924-1978) and her daughters Jonne (1919-1999), Liliana (1921-2004), and Lucina (1931- 2003). She became the matriarch of the Casartelli family, establishing through her progeny the basis of the Casartelli circus dynasty. With the three horses and a caravan she received after the family split, Rosina began to move slowly from the Italian northeast to the Piedmont region, hoping to rejoin her family’s Circo Gerardi. She set up a small traveling outdoor arena, offering equestrian and aerial performances with her children, while the audience sat on soapboxes. &lt;br /&gt;
&lt;br /&gt;
What was originally a survival move actually paid off: By 1936, Rosina’s show was known as the ''Arena Rosa''; by 1939, it was a full-fledged circus performing under a second-hand big top purchased from the [[The Togni Family|Togni]] circus. By 1941, her circus had become a legitimate and respectable enterprise, known as ''Circo Aurora''. During WWII, it played regularly the fairs of Tuscany, and Rosina combined her efforts in the winter with the Tognis, who ran what was by far at the time the most important circus in the country&amp;amp;mdash;and benefitted from the protection of the Fascist government. This association led to several Togni-Casartelli marriages, creating multiple ties between the two families.&lt;br /&gt;
&lt;br /&gt;
By the end of the war, Rosina’s sons and nephews had already produced dozens of new family members, and her son Leonida took over the reins of the ever-growing family circus. At the time, Italian circus tours centered on a calendar of seasonal fairs, of which one or more circuses were generally the main feature. It was established by the [[Ente Nazionale Circhi]] (the Italian circus proprietor’s association), which used for this purpose a specific ranking system.&lt;br /&gt;
&lt;br /&gt;
In 1949, three circuses were in the &amp;quot;first class&amp;quot; category: [[The Orfei Family|Orfei]], Togni, and [[The Jarz Family|Jarz]]. Leonida Casartelli’s Circo Aurora quickly reached the &amp;quot;second class,&amp;quot; along with [[The Zamperla|Zamperla]], [[Alberto Zoppé|Zoppé]], and [[The Cristiani Family|Cristiani]]. Being in a higher category meant an exclusive tour of the largest regional fairs of Italy, and consequently prosperous business. And business was booming: After having bought his first elephant, Leonida acquired in 1950 a group of lions trained by Amedeo Gerardi, which he presented himself.&lt;br /&gt;
&lt;br /&gt;
Under Leonida’s management, Circo Aurora regularly booked international acts, and it continued his association with the Togni family through the 1950s. In 1958, Circo Aurora caught the attention of Spanish impresario [[Osvaldo Silvestrini]], who regularly brought over foreign circuses in Cataluña&amp;amp;mdash;among which the Italian Togni, Jarz , and Cristiani circuses, and the French Beautour, Bostok-Robba, and [[The Bouglione Family|Bouglione]]. Circo Aurora’s success in Spain made it the first foreign company to expand its tour to other Spanish regions. &lt;br /&gt;
&lt;br /&gt;
===A Circus Of Many Names===&lt;br /&gt;
&lt;br /&gt;
In 1959 Leonida Casartelli’s circus, which was growing, changed its name to ''Circo Coliseum'' in order to return to Spanish towns that Circo Aurora had already visited the previous season. Circo Coliseum actually improved considerably on the original Aurora, traveling with the first tent equipped with a prototype of the &amp;quot;Italian&amp;quot; elongated cupola, and presenting a water pantomime. The show featured also some of the best Italian acrobats of the time, among whom the banquine act of the [[The Nicolodi Family|Nicolodis]], and the [[Duo Larible|Larible]] brothers’ Washington trapeze act. A group of liberty horses was also added, and the circus’s interior furnishings were improved&amp;amp;mdash;somehow influenced by the Spanish circus impresario [[Arturo Castilla]]’s decorative style. &lt;br /&gt;
&lt;br /&gt;
The Casartellis’ Spanish tour ended in 1960. Back in Italy, in the early 1960s, the circus’s name switched frequently from ''Coliseum'' to ''Kerr-Kroll'' and back. The latter title was designed to compete with that of [[Circus Krone]], the giant German circus, which often toured in Italy at the time. In April 1963, Leonida Casartelli took his circus into a sport arena in Istanbul, Turkey. Without informing the Casartellis, the local producer, Osman Kavran, advertised the circus as &amp;quot;MED.RA.N.O. presents Circo Casartelli&amp;quot;; the ambiguous acronym was meant to stand for ''MEDiterranean Radiotelevision And News Organization''. &lt;br /&gt;
&lt;br /&gt;
The Swoboda family, who had visited Turkey successfully before with their Austrian Circus Medrano, tried to have the use of that title, in whatever spelling, suppressed, but it was to no avail. Under the same banner, the Casartellis went afterward on a Turkish tour that extended to Sofia, in Bulgaria. When they returned to Italy (and subsequently visited other southern European countries) they adopted the title ''Circo di Barcelona'', and presented a lavish Spanish-style production, replete with a flamenco ballet company. In 1968 the circus visited Israel for the first time. &lt;br /&gt;
&lt;br /&gt;
In the following few years, they used a variety of names (sometimes for several units visiting different countries): ''Circo Nazionale Togni'', ''Circo di Francia'', ''Circo Tokio'', ''Magic Circus'', ''Circo di Israele'', and finally, in 1971, the Tognis’ ''Circo Heros'' title. However, by 1972, in spite of its numerous name changes, the Casartelli enterprise had become one of Italy’s largest circuses, and it was finding its own identity. The only major Italian circus not using railroad transportation, its logistics were smooth, and its productions were sumptuous, with danced introductions to the acts, a big orchestra, and elaborate scenery. And whereas Italian circuses flirted with water pantomimes, ice shows and three-ring hippodrome spectaculars, Casartelli prided itself on being the only major circus faithful to one-ring, classic format&amp;amp;mdash;&amp;quot;Il Circo al 100 per 100&amp;quot;, as it advertised itself. &lt;br /&gt;
&lt;br /&gt;
===Medrano &amp;amp;mdash; Il Circo Famoso Nel Mondo===&lt;br /&gt;
&lt;br /&gt;
Still, Leonida felt he still had to develop two important elements for his circus: a name with a strong popular appeal, and a big menagerie, as had become the norm in most major circuses in the northern part of Europe. The name ''Medrano'' had gained great popularity in Italy and in the Mediterranean countries. In these regions, the ''Medrano'' title was not connected to the celebrated Parisian circus, but to the circus founded in Austria in 1904 by [[Ludwig Swoboda]] (1881-1952), which was initially called [[Zirkus Lajos]] (''Lajos'' is the equivalent of ''Ludwig'' in Hungarian). &lt;br /&gt;
&lt;br /&gt;
In 1920, for a tour of Poland, where the name Lajos was sounding a little too Hungarian (and was thus politically incorrect), Swoboda changed his circus’s name, which became &amp;quot;Medrano from Wien&amp;quot;. The choice of ''Medrano'' had been obviously inspired to Ludwig Swoboda by the homonymous Parisian institution, then at the peak of its glory. ([[Jérôme Medrano]] repeatedly fought to prevent the illicit use of his name out of the French borders, but without success). &lt;br /&gt;
&lt;br /&gt;
And so, the Swobodas  toured extensively in Eastern Europe, the Balkans, and the Mediterranean countries&amp;amp;mdash;including Italy&amp;amp;mdash;under the title ''Medrano'' until the 1960s. After Ludwig’s death in 1952, the circus was managed by his daughters&amp;amp;mdash;three of whom, Therese, Anita and Wanda, had achieved considerable fame with their equestrian act, which they performed as the [[The Swoboda Family|Medrano Sisters]]. Circus Medrano-Swoboda (as it became known in the business to avoid confusion with its French counterpart) had eventually ceased its activities in 1969. &lt;br /&gt;
&lt;br /&gt;
Three of the Swoboda sisters, Therese, Anita and Helena (Hella), had married and settled in Italy, where they had rented the ''Medrano'' name to various Italian circuses. Therese had died in 1951, and Anita eventually left the circus; Hella, who had married Renato Medini, of the famous Italian circus family, eventually remained sole owner of the title. In 1972, ''Medrano'' seemed to Leonida Casartelli a perfect name for his circus: Casartelli exploited the same market as had the Swobodas, a market where the ''Medrano'' title had gained, over the years, prestige and recognition. He made a deal with Renato Medini, and legally purchased a name that belonged to the seller somewhat illegitimately. (Other abusive uses of the ''Medrano'' title would later appear in Europe.) &lt;br /&gt;
&lt;br /&gt;
The advertising of the new Circo Medrano announced &amp;quot;Medrano – Il Circo Famoso nel Mondo&amp;quot;, and introduced a series of colorful movie-style posters, designed by the painter Renato Casaro, which stressed Circo Medrano’s main feature: its vast animal collection. Leonida Casartelli had aggressively and quickly assembled one of the best traveling zoos of the era. His was the first Italian circus to introduce in its menagerie African elephants, giraffes, a rhino, an orangutan, and, as a star attraction, a couple of gorillas. &lt;br /&gt;
&lt;br /&gt;
Beside the horses, the stables included zebras, camels, and all sorts of exotic animals, and the cage wagons housed cats of every kind, monkeys, and even a host of colorful tropical birds. These animals were taken care of by fine animal trainers, with such famous names as Houcke, McManus, Smith, and Beautour, followed in time by some of Leonida’s sons. Davio (b.1956) became an elephant specialist, and Heros (b.1949) an expert equestrian&amp;amp;mdash;while Elio (b.1952) took care of the circus administration and performances, and their sisters Ghisi (b.1944), Jose (1947-1997), and Liviana (b.1960), supervised the different departments of the circus. &lt;br /&gt;
&lt;br /&gt;
They all were performers, too, who participated in various family acts (notably a beautiful high school ensemble), and they were surrounded by some of the greatest acts of the period. One of the trademarks of Medrano-Casartelli (as the circus would become known in the business) was the presentation of &amp;quot;exotic&amp;quot; troupes of performers&amp;amp;mdash;African dancers, Moroccan tumblers, teeterboard troupes from the Balkans&amp;amp;mdash;in the manner of the great German circuses ([[Circus Hagenbeck|Hagenbeck]], [[Circus Sarrasani|Sarrasani]]…) of pre-war Europe.&lt;br /&gt;
&lt;br /&gt;
===An Expanding Circus Empire===&lt;br /&gt;
&lt;br /&gt;
Leonida Casartelli died in 1978 in a car accident. The management of Circo Medrano was taken over by one of his nephews, Ugo De Rocchi, who expanded Medrano’s foreign tours, and emphasized the &amp;quot;grandeur&amp;quot; of the circus. For the 1980 winter season in Rome, Medrano set up an impressive display of three big tops and, in the menagerie tent, offered a shark fight&amp;amp;mdash;a first in Europe! The following winter, in Milan, [[The Knie Dynasty|Louis Knie, Jr.]] joined the company with his tigers and elephants; later, in the spring, 250,000 people visited the circus in Tel Aviv. The 1982 season even saw the circus in Vienna, in direct competition with the giant Circus Krone.  &lt;br /&gt;
&lt;br /&gt;
In 1987, Medrano-Casartelli did its first tour in France, where its impressive menagerie&amp;amp;mdash;the like of which had not been seen in that country for a long while&amp;amp;mdash;was a sensation. But in France, where the title ''Medrano'' was duly protected and was the exclusive property of the Medrano family, the Casartellis were forced to change the name of their circus, which disappeared from all the vehicles and other visible locations and was replaced by ''Circo Italiano''. The show, which included a water pantomime, was presented by the famous French ringmaster, [[Sergio]].&lt;br /&gt;
&lt;br /&gt;
In the winter of 1993, the circus stayed four months in Athens, Greece, presenting two different programs in succession. During the 1990s, a second Casartelli unit traveled with water spectaculars and circus ice shows throughout Europe. At the same time, the family interests were expanded with the purchase of some of Italy’s biggest zoos and theme parks. &lt;br /&gt;
&lt;br /&gt;
Meanwhile, the extended Casartelli family spread around the globe: [[David Larible]], the son of Lucina Casartelli, became a world-famous clown, and his sister, [[Vivien Larible|Vivien]], a successful trapeze artist; of Liliana’s sons (who had married Wioris Togni), Holer became one of Europe’s best car stuntmen, and Divier, a major sport arena entrepreneur; Steve and Ronni Bello, the sons of Jose (who had married the juggler Luciano Bello), starred in a remarkable risley act at [[Circus Roncalli]], and then in [[Cirque du Soleil]]’s ''Varekai''. In 1996 the family created an extraordinary, twenty-five-minute equestrian display called ''Festa del Cavallo'', in which a dozen family members combined pyramids on horseback, jockey act, high school, pas-de-deux and liberty presentations. It received a Gold Clown at the [[International Circus Festival of Monte Carlo]]. Afterwards, in 1997, the Casartellis did a short tour in France, this time using their own name as a title: ''Circo Casartelli''.&lt;br /&gt;
&lt;br /&gt;
===The Casartellis Today===&lt;br /&gt;
&lt;br /&gt;
After 2000, Ugo De Rocchi’s interests became concentrated on the family’s theme park business, and the control of the circus passed into the hands of Leonida’s three sons, Heros, Davio, and Elio. In 2007, the Casartelli family won for the second time a Gold Clown at the Monte Carlo festival, with a pas-de-deux on horseback, two equestrian displays, and ''Aladdin'', an &amp;quot;oriental&amp;quot; circus pantomime in the grand old classic manner, which included no less that fifty performers and assistants (mostly family members), with a cornucopia of animals, among which a group of African elephants, a kangaroo, and two giraffes.&lt;br /&gt;
&lt;br /&gt;
Circo Medrano spends basically the winter months in Italy with one or two units, and spends the rest of the year on tour abroad. Davio, who has created a spectacular act with an African elephant and two tigers, has toured with [[Circus Louis Knie]] in Austria and Germany, and with [[Cirque Arlette Gruss]] in France. Elio’s son, Brian (b.1977), took charge of the numerous exotic animals, and has produced an equestrian pas-de-deux with his sister Ingrid (b.1979), which includes Ingrid’s balancing on one foot on her brother’s head, while they are riding on horseback&amp;amp;mdash;a trick never seen before in the rich annals of the equestrian arts.&lt;br /&gt;
&lt;br /&gt;
For its 2011 season, Circo Medrano-Casartelli was able to advertise (and truly show) three Gold and five Silver Clown winners from the International Circus Festival of Monte-Carlo&amp;amp;mdash;a feat that illustrates well the exceptional quality of their circus productions. Since 1990, the Casartellis have performed in Austria, Spain, France, Turkey, Greece, Israel, Cyprus, Malta, Serbia, Croatia, Slovenia, Syria, Bulgaria, Romania, Hungary, and Czechoslovakia. They are indeed the greatest ambassadors of the grand Italian circus tradition.&lt;br /&gt;
&lt;br /&gt;
==Suggested Reading==&lt;br /&gt;
&lt;br /&gt;
* Alessandro Cervelatti, ''Questa Sera Grande Spettacolo'' (Milano, Edizione Avanti!, 1961) &lt;br /&gt;
* Enrico and Serena Bassano, ''Una donna, un circo: Rosina Casartelli'' (Genova, La Stampa, 1997)&lt;br /&gt;
* Alessandra Litta Modignani, Sandra Montovani, ''Il circo della memoria'' (Trento, Publistampa Edizioni, 2008) — ISBN 978-88-902506-7-5&lt;br /&gt;
* Raffaele de Ritis, ''Storia del Circo - degli acrobati egizi al Cirque du Soleil'' (Roma, Bulzoni Editore, 2008) — ISBN 978-88-7870-317-9&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Video: [[Eros_Casartelli_Video_(1987)|Eros Casartelli, mixed animal act]], at the International Circus Festival of Monte Carlo (1987)&lt;br /&gt;
&lt;br /&gt;
==Image Gallery==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;Gallery&amp;gt;&lt;br /&gt;
File:Orfei_Casartelli_Togni.jpg|Ferdinando Togni, Darix Togni, Leonida Casartelli and Nando Orfei (c.1970)&lt;br /&gt;
File:Medrano_Casartelli.jpg|Poster for Circo Medrano (1974)&lt;br /&gt;
File:Casartelli_Israel.jpg|Circo Medrano in Israel (1985)&lt;br /&gt;
File:Casartelli_France.jpg|Circo Casartelli in France (1997)&lt;br /&gt;
File:Circo_Casartelli_97.jpg|Circo Casartelli in France (1997)&lt;br /&gt;
File:Casartelli_facade.jpg|Circo Medrano Façade (c.2015)&lt;br /&gt;
File:Casartelli_Greece.jpg|Poster for Circo Medrano in Greece (2019)&lt;br /&gt;
File:Medrano-Casartelli_Firenze.jpg|Poster for Circo Medrano in Florence (2019)&lt;br /&gt;
&amp;lt;/Gallery&amp;gt;&lt;br /&gt;
&lt;br /&gt;
[[Category:History|Casartelli Family]][[Category:Circus Owners and Directors|Casartelli Family]][[Category:Animal Trainers|Casartelli Family]][[Category:Exotic Animals|Casartelli Family]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=File:Casartelli_facade.jpg&amp;diff=36502</id>
		<title>File:Casartelli facade.jpg</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=File:Casartelli_facade.jpg&amp;diff=36502"/>
				<updated>2021-08-27T17:13:51Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: &lt;/p&gt;
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&lt;div&gt;The façade of Circo Medrano-Casartelli (c.2015) &amp;amp;mdash; ''Photo X''&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Biography: [[The Casartelli Family]]&lt;br /&gt;
&lt;br /&gt;
[[Category:Photo Archive|Casartelli]]&lt;/div&gt;</summary>
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	<entry>
		<id>https://www.circopedia.org/index.php?title=File:Casartelli_facade.jpg&amp;diff=36501</id>
		<title>File:Casartelli facade.jpg</title>
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				<updated>2021-08-27T17:12:29Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: The façade of Circo Medrano-Casartelli (c.2015) &amp;amp;mdash; ''Photo X''&lt;/p&gt;
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&lt;div&gt;The façade of Circo Medrano-Casartelli (c.2015) &amp;amp;mdash; ''Photo X''&lt;/div&gt;</summary>
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	<entry>
		<id>https://www.circopedia.org/index.php?title=The_Casartelli_Family&amp;diff=36500</id>
		<title>The Casartelli Family</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=The_Casartelli_Family&amp;diff=36500"/>
				<updated>2021-08-24T23:26:05Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: /* An Expanding Circus Empire */&lt;/p&gt;
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&lt;div&gt;[[File:Circo_Casartelli_97.jpg|right|300px]]&lt;br /&gt;
''By Raffaele de Ritis''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Circo Medrano-Casartelli==&lt;br /&gt;
&lt;br /&gt;
The Casartelli family is one of Italy’s most prominent circus families; they are also well known in the Mediterranean countries, the Balkans, and even Israel, where they tour regularly&amp;amp;mdash;although the name Casartelli rarely appears on their circuses’ marquees. They have used different titles over the years, most famously ''Medrano''&amp;amp;mdash;a title they purchased from the [[The Swoboda Family|Swoboda]] family of Austria, and which had no connection (beside the use of its famous name) with the legendary [[Cirque Medrano (Paris)|Parisian circus]].  &lt;br /&gt;
&lt;br /&gt;
The Casartellis run perhaps the most widely traveled circus organization in activity, having visited no less than twenty countries, some regularly, over the past seventy years (as of 2020)&amp;amp;mdash;sometimes with up to three units touring simultaneously. They are also active in the safari and theme park business. In contrast to typical century-old Italian circus dynasties, the Casartelli family managed to become in just a few decades one of the largest circus families in Europe; it counts today about one hundred members. &lt;br /&gt;
&lt;br /&gt;
They have revived at its best the prewar tradition of the great European traveling circuses-and-menagerie, with a large family-based company surrounded by some of the best acts in business. As artists, especially equestrians and animal trainers, the Casartellis won two Gold Clowns at the [[International Circus Festival of Monte Carlo]] (in 1996 and 2007), and they have given six command performances for four different Popes at the Vatican.&lt;br /&gt;
&lt;br /&gt;
===Mamma Rosina and Circo Aurora===&lt;br /&gt;
&lt;br /&gt;
The first known Casartelli active in the circus was Giuseppe Casartelli, who performed in the 1850s&amp;amp;mdash;although not much is known of him. His sons, Pietro (1860-1922), who was known as a good hand-balancer, and Federico (?-?), an acrobat and clown, started the first Casartelli circus, with the help of their numerous offspring. As it was common in Italian circus families of the time, all of them were trained acrobats and equestrians (notably in bareback riders). When Pietro’s elder son, Umberto, better known as Romeo (1893-1933), died in 1933, the family split. &lt;br /&gt;
&lt;br /&gt;
Umberto’s wife, the courageous and strong-willed Rosina, née [[The Gerardi Fanily|Gerardi]] (1898-1974), went back on the road with her son Leonida (1924-1978) and her daughters Jonne (1919-1999), Liliana (1921-2004), and Lucina (1931- 2003). She became the matriarch of the Casartelli family, establishing through her progeny the basis of the Casartelli circus dynasty. With the three horses and a caravan she received after the family split, Rosina began to move slowly from the Italian northeast to the Piedmont region, hoping to rejoin her family’s Circo Gerardi. She set up a small traveling outdoor arena, offering equestrian and aerial performances with her children, while the audience sat on soapboxes. &lt;br /&gt;
&lt;br /&gt;
What was originally a survival move actually paid off: By 1936, Rosina’s show was known as the ''Arena Rosa''; by 1939, it was a full-fledged circus performing under a second-hand big top purchased from the [[The Togni Family|Togni]] circus. By 1941, her circus had become a legitimate and respectable enterprise, known as ''Circo Aurora''. During WWII, it played regularly the fairs of Tuscany, and Rosina combined her efforts in the winter with the Tognis, who ran what was by far at the time the most important circus in the country&amp;amp;mdash;and benefitted from the protection of the Fascist government. This association led to several Togni-Casartelli marriages, creating multiple ties between the two families.&lt;br /&gt;
&lt;br /&gt;
By the end of the war, Rosina’s sons and nephews had already produced dozens of new family members, and her son Leonida took over the reins of the ever-growing family circus. At the time, Italian circus tours centered on a calendar of seasonal fairs, of which one or more circuses were generally the main feature. It was established by the [[Ente Nazionale Circhi]] (the Italian circus proprietor’s association), which used for this purpose a specific ranking system.&lt;br /&gt;
&lt;br /&gt;
In 1949, three circuses were in the &amp;quot;first class&amp;quot; category: [[The Orfei Family|Orfei]], Togni, and [[The Jarz Family|Jarz]]. Leonida Casartelli’s Circo Aurora quickly reached the &amp;quot;second class,&amp;quot; along with [[The Zamperla|Zamperla]], [[Alberto Zoppé|Zoppé]], and [[The Cristiani Family|Cristiani]]. Being in a higher category meant an exclusive tour of the largest regional fairs of Italy, and consequently prosperous business. And business was booming: After having bought his first elephant, Leonida acquired in 1950 a group of lions trained by Amedeo Gerardi, which he presented himself.&lt;br /&gt;
&lt;br /&gt;
Under Leonida’s management, Circo Aurora regularly booked international acts, and it continued his association with the Togni family through the 1950s. In 1958, Circo Aurora caught the attention of Spanish impresario [[Osvaldo Silvestrini]], who regularly brought over foreign circuses in Cataluña&amp;amp;mdash;among which the Italian Togni, Jarz , and Cristiani circuses, and the French Beautour, Bostok-Robba, and [[The Bouglione Family|Bouglione]]. Circo Aurora’s success in Spain made it the first foreign company to expand its tour to other Spanish regions. &lt;br /&gt;
&lt;br /&gt;
===A Circus Of Many Names===&lt;br /&gt;
&lt;br /&gt;
In 1959 Leonida Casartelli’s circus, which was growing, changed its name to ''Circo Coliseum'' in order to return to Spanish towns that Circo Aurora had already visited the previous season. Circo Coliseum actually improved considerably on the original Aurora, traveling with the first tent equipped with a prototype of the &amp;quot;Italian&amp;quot; elongated cupola, and presenting a water pantomime. The show featured also some of the best Italian acrobats of the time, among whom the banquine act of the [[The Nicolodi Family|Nicolodis]], and the [[Duo Larible|Larible]] brothers’ Washington trapeze act. A group of liberty horses was also added, and the circus’s interior furnishings were improved&amp;amp;mdash;somehow influenced by the Spanish circus impresario [[Arturo Castilla]]’s decorative style. &lt;br /&gt;
&lt;br /&gt;
The Casartellis’ Spanish tour ended in 1960. Back in Italy, in the early 1960s, the circus’s name switched frequently from ''Coliseum'' to ''Kerr-Kroll'' and back. The latter title was designed to compete with that of [[Circus Krone]], the giant German circus, which often toured in Italy at the time. In April 1963, Leonida Casartelli took his circus into a sport arena in Istanbul, Turkey. Without informing the Casartellis, the local producer, Osman Kavran, advertised the circus as &amp;quot;MED.RA.N.O. presents Circo Casartelli&amp;quot;; the ambiguous acronym was meant to stand for ''MEDiterranean Radiotelevision And News Organization''. &lt;br /&gt;
&lt;br /&gt;
The Swoboda family, who had visited Turkey successfully before with their Austrian Circus Medrano, tried to have the use of that title, in whatever spelling, suppressed, but it was to no avail. Under the same banner, the Casartellis went afterward on a Turkish tour that extended to Sofia, in Bulgaria. When they returned to Italy (and subsequently visited other southern European countries) they adopted the title ''Circo di Barcelona'', and presented a lavish Spanish-style production, replete with a flamenco ballet company. In 1968 the circus visited Israel for the first time. &lt;br /&gt;
&lt;br /&gt;
In the following few years, they used a variety of names (sometimes for several units visiting different countries): ''Circo Nazionale Togni'', ''Circo di Francia'', ''Circo Tokio'', ''Magic Circus'', ''Circo di Israele'', and finally, in 1971, the Tognis’ ''Circo Heros'' title. However, by 1972, in spite of its numerous name changes, the Casartelli enterprise had become one of Italy’s largest circuses, and it was finding its own identity. The only major Italian circus not using railroad transportation, its logistics were smooth, and its productions were sumptuous, with danced introductions to the acts, a big orchestra, and elaborate scenery. And whereas Italian circuses flirted with water pantomimes, ice shows and three-ring hippodrome spectaculars, Casartelli prided itself on being the only major circus faithful to one-ring, classic format&amp;amp;mdash;&amp;quot;Il Circo al 100 per 100&amp;quot;, as it advertised itself. &lt;br /&gt;
&lt;br /&gt;
===Medrano &amp;amp;mdash; Il Circo Famoso Nel Mondo===&lt;br /&gt;
&lt;br /&gt;
Still, Leonida felt he still had to develop two important elements for his circus: a name with a strong popular appeal, and a big menagerie, as had become the norm in most major circuses in the northern part of Europe. The name ''Medrano'' had gained great popularity in Italy and in the Mediterranean countries. In these regions, the ''Medrano'' title was not connected to the celebrated Parisian circus, but to the circus founded in Austria in 1904 by [[Ludwig Swoboda]] (1881-1952), which was initially called [[Zirkus Lajos]] (''Lajos'' is the equivalent of ''Ludwig'' in Hungarian). &lt;br /&gt;
&lt;br /&gt;
In 1920, for a tour of Poland, where the name Lajos was sounding a little too Hungarian (and was thus politically incorrect), Swoboda changed his circus’s name, which became &amp;quot;Medrano from Wien&amp;quot;. The choice of ''Medrano'' had been obviously inspired to Ludwig Swoboda by the homonymous Parisian institution, then at the peak of its glory. ([[Jérôme Medrano]] repeatedly fought to prevent the illicit use of his name out of the French borders, but without success). &lt;br /&gt;
&lt;br /&gt;
And so, the Swobodas  toured extensively in Eastern Europe, the Balkans, and the Mediterranean countries&amp;amp;mdash;including Italy&amp;amp;mdash;under the title ''Medrano'' until the 1960s. After Ludwig’s death in 1952, the circus was managed by his daughters&amp;amp;mdash;three of whom, Therese, Anita and Wanda, had achieved considerable fame with their equestrian act, which they performed as the [[The Swoboda Family|Medrano Sisters]]. Circus Medrano-Swoboda (as it became known in the business to avoid confusion with its French counterpart) had eventually ceased its activities in 1969. &lt;br /&gt;
&lt;br /&gt;
Three of the Swoboda sisters, Therese, Anita and Helena (Hella), had married and settled in Italy, where they had rented the ''Medrano'' name to various Italian circuses. Therese had died in 1951, and Anita eventually left the circus; Hella, who had married Renato Medini, of the famous Italian circus family, eventually remained sole owner of the title. In 1972, ''Medrano'' seemed to Leonida Casartelli a perfect name for his circus: Casartelli exploited the same market as had the Swobodas, a market where the ''Medrano'' title had gained, over the years, prestige and recognition. He made a deal with Renato Medini, and legally purchased a name that belonged to the seller somewhat illegitimately. (Other abusive uses of the ''Medrano'' title would later appear in Europe.) &lt;br /&gt;
&lt;br /&gt;
The advertising of the new Circo Medrano announced &amp;quot;Medrano – Il Circo Famoso nel Mondo&amp;quot;, and introduced a series of colorful movie-style posters, designed by the painter Renato Casaro, which stressed Circo Medrano’s main feature: its vast animal collection. Leonida Casartelli had aggressively and quickly assembled one of the best traveling zoos of the era. His was the first Italian circus to introduce in its menagerie African elephants, giraffes, a rhino, an orangutan, and, as a star attraction, a couple of gorillas. &lt;br /&gt;
&lt;br /&gt;
Beside the horses, the stables included zebras, camels, and all sorts of exotic animals, and the cage wagons housed cats of every kind, monkeys, and even a host of colorful tropical birds. These animals were taken care of by fine animal trainers, with such famous names as Houcke, McManus, Smith, and Beautour, followed in time by some of Leonida’s sons. Davio (b.1956) became an elephant specialist, and Heros (b.1949) an expert equestrian&amp;amp;mdash;while Elio (b.1952) took care of the circus administration and performances, and their sisters Ghisi (b.1944), Jose (1947-1997), and Liviana (b.1960), supervised the different departments of the circus. &lt;br /&gt;
&lt;br /&gt;
They all were performers, too, who participated in various family acts (notably a beautiful high school ensemble), and they were surrounded by some of the greatest acts of the period. One of the trademarks of Medrano-Casartelli (as the circus would become known in the business) was the presentation of &amp;quot;exotic&amp;quot; troupes of performers&amp;amp;mdash;African dancers, Moroccan tumblers, teeterboard troupes from the Balkans&amp;amp;mdash;in the manner of the great German circuses ([[Circus Hagenbeck|Hagenbeck]], [[Circus Sarrasani|Sarrasani]]…) of pre-war Europe.&lt;br /&gt;
&lt;br /&gt;
===An Expanding Circus Empire===&lt;br /&gt;
&lt;br /&gt;
Leonida Casartelli died in 1978 in a car accident. The management of Circo Medrano was taken over by one of his nephews, Ugo De Rocchi, who expanded Medrano’s foreign tours, and emphasized the &amp;quot;grandeur&amp;quot; of the circus. For the 1980 winter season in Rome, Medrano set up an impressive display of three big tops and, in the menagerie tent, offered a shark fight&amp;amp;mdash;a first in Europe! The following winter, in Milan, [[The Knie Dynasty|Louis Knie, Jr.]] joined the company with his tigers and elephants; later, in the spring, 250,000 people visited the circus in Tel Aviv. The 1982 season even saw the circus in Vienna, in direct competition with the giant Circus Krone.  &lt;br /&gt;
&lt;br /&gt;
In 1987, Medrano-Casartelli did its first tour in France, where its impressive menagerie&amp;amp;mdash;the like of which had not been seen in that country for a long while&amp;amp;mdash;was a sensation. But in France, where the title ''Medrano'' was duly protected and was the exclusive property of the Medrano family, the Casartellis were forced to change the name of their circus, which disappeared from all the vehicles and other visible locations and was replaced by ''Circo Italiano''. The show, which included a water pantomime, was presented by the famous French ringmaster, [[Sergio]].&lt;br /&gt;
&lt;br /&gt;
In the winter of 1993, the circus stayed four months in Athens, Greece, presenting two different programs in succession. During the 1990s, a second Casartelli unit traveled with water spectaculars and circus ice shows throughout Europe. At the same time, the family interests were expanded with the purchase of some of Italy’s biggest zoos and theme parks. &lt;br /&gt;
&lt;br /&gt;
Meanwhile, the extended Casartelli family spread around the globe: [[David Larible]], the son of Lucina Casartelli, became a world-famous clown, and his sister, [[Vivien Larible|Vivien]], a successful trapeze artist; of Liliana’s sons (who had married Wioris Togni), Holer became one of Europe’s best car stuntmen, and Divier, a major sport arena entrepreneur; Steve and Ronni Bello, the sons of Jose (who had married the juggler Luciano Bello), starred in a remarkable risley act at [[Circus Roncalli]], and then in [[Cirque du Soleil]]’s ''Varekai''. In 1996 the family created an extraordinary, twenty-five-minute equestrian display called ''Festa del Cavallo'', in which a dozen family members combined pyramids on horseback, jockey act, high school, pas-de-deux and liberty presentations. It received a Gold Clown at the [[International Circus Festival of Monte Carlo]]. Afterwards, in 1997, the Casartellis did a short tour in France, this time using their own name as a title: ''Circo Casartelli''.&lt;br /&gt;
&lt;br /&gt;
===The Casartellis Today===&lt;br /&gt;
&lt;br /&gt;
After 2000, Ugo De Rocchi’s interests became concentrated on the family’s theme park business, and the control of the circus passed into the hands of Leonida’s three sons, Heros, Davio, and Elio. In 2007, the Casartelli family won for the second time a Gold Clown at the Monte Carlo festival, with a pas-de-deux on horseback, two equestrian displays, and ''Aladdin'', an &amp;quot;oriental&amp;quot; circus pantomime in the grand old classic manner, which included no less that fifty performers and assistants (mostly family members), with a cornucopia of animals, among which a group of African elephants, a kangaroo, and two giraffes.&lt;br /&gt;
&lt;br /&gt;
Circo Medrano spends basically the winter months in Italy with one or two units, and spends the rest of the year on tour abroad. Davio, who has created a spectacular act with an African elephant and two tigers, has toured with [[Circus Louis Knie]] in Austria and Germany, and with [[Cirque Arlette Gruss]] in France. Elio’s son, Brian (b.1977), took charge of the numerous exotic animals, and has produced an equestrian pas-de-deux with his sister Ingrid (b.1979), which includes Ingrid’s balancing on one foot on her brother’s head, while they are riding on horseback&amp;amp;mdash;a trick never seen before in the rich annals of the equestrian arts.&lt;br /&gt;
&lt;br /&gt;
For its 2011 season, Circo Medrano-Casartelli was able to advertise (and truly show) three Gold and five Silver Clown winners from the International Circus Festival of Monte-Carlo&amp;amp;mdash;a feat that illustrates well the exceptional quality of their circus productions. Since 1990, the Casartellis have performed in Austria, Spain, France, Turkey, Greece, Israel, Cyprus, Malta, Serbia, Croatia, Slovenia, Syria, Bulgaria, Romania, Hungary, and Czechoslovakia. They are indeed the greatest ambassadors of the grand Italian circus tradition.&lt;br /&gt;
&lt;br /&gt;
==Suggested Reading==&lt;br /&gt;
&lt;br /&gt;
* Alessandro Cervelatti, ''Questa Sera Grande Spettacolo'' (Milano, Edizione Avanti!, 1961) &lt;br /&gt;
* Enrico and Serena Bassano, ''Una donna, un circo: Rosina Casartelli'' (Genova, La Stampa, 1997)&lt;br /&gt;
* Alessandra Litta Modignani, Sandra Montovani, ''Il circo della memoria'' (Trento, Publistampa Edizioni, 2008) — ISBN 978-88-902506-7-5&lt;br /&gt;
* Raffaele de Ritis, ''Storia del Circo - degli acrobati egizi al Cirque du Soleil'' (Roma, Bulzoni Editore, 2008) — ISBN 978-88-7870-317-9&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Video: [[Eros_Casartelli_Video_(1987)|Eros Casartelli, mixed animal act]], at the International Circus Festival of Monte Carlo (1987)&lt;br /&gt;
&lt;br /&gt;
==Image Gallery==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;Gallery&amp;gt;&lt;br /&gt;
File:Orfei_Casartelli_Togni.jpg|Ferdinando Togni, Darix Togni, Leonida Casartelli and Nando Orfei (c.1970)&lt;br /&gt;
File:Medrano_Casartelli.jpg|Poster for Circo Medrano (1974)&lt;br /&gt;
File:Casartelli_Israel.jpg|Circo Medrano in Israel (1985)&lt;br /&gt;
File:Casartelli_France.jpg|Circo Casartelli in France (1997)&lt;br /&gt;
File:Circo_Casartelli_97.jpg|Circo Casartelli in France (1997)&lt;br /&gt;
File:Casartelli_Greece.jpg|Poster for Circo Medrano in Greece (2019)&lt;br /&gt;
File:Medrano-Casartelli_Firenze.jpg|Poster for Circo Medrano in Florence (2019)&lt;br /&gt;
&amp;lt;/Gallery&amp;gt;&lt;br /&gt;
&lt;br /&gt;
[[Category:History|Casartelli Family]][[Category:Circus Owners and Directors|Casartelli Family]][[Category:Animal Trainers|Casartelli Family]][[Category:Exotic Animals|Casartelli Family]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=The_Casartelli_Family&amp;diff=36499</id>
		<title>The Casartelli Family</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=The_Casartelli_Family&amp;diff=36499"/>
				<updated>2021-08-24T23:25:44Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: /* An Expanding Circus Empire */&lt;/p&gt;
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&lt;div&gt;[[File:Circo_Casartelli_97.jpg|right|300px]]&lt;br /&gt;
''By Raffaele de Ritis''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Circo Medrano-Casartelli==&lt;br /&gt;
&lt;br /&gt;
The Casartelli family is one of Italy’s most prominent circus families; they are also well known in the Mediterranean countries, the Balkans, and even Israel, where they tour regularly&amp;amp;mdash;although the name Casartelli rarely appears on their circuses’ marquees. They have used different titles over the years, most famously ''Medrano''&amp;amp;mdash;a title they purchased from the [[The Swoboda Family|Swoboda]] family of Austria, and which had no connection (beside the use of its famous name) with the legendary [[Cirque Medrano (Paris)|Parisian circus]].  &lt;br /&gt;
&lt;br /&gt;
The Casartellis run perhaps the most widely traveled circus organization in activity, having visited no less than twenty countries, some regularly, over the past seventy years (as of 2020)&amp;amp;mdash;sometimes with up to three units touring simultaneously. They are also active in the safari and theme park business. In contrast to typical century-old Italian circus dynasties, the Casartelli family managed to become in just a few decades one of the largest circus families in Europe; it counts today about one hundred members. &lt;br /&gt;
&lt;br /&gt;
They have revived at its best the prewar tradition of the great European traveling circuses-and-menagerie, with a large family-based company surrounded by some of the best acts in business. As artists, especially equestrians and animal trainers, the Casartellis won two Gold Clowns at the [[International Circus Festival of Monte Carlo]] (in 1996 and 2007), and they have given six command performances for four different Popes at the Vatican.&lt;br /&gt;
&lt;br /&gt;
===Mamma Rosina and Circo Aurora===&lt;br /&gt;
&lt;br /&gt;
The first known Casartelli active in the circus was Giuseppe Casartelli, who performed in the 1850s&amp;amp;mdash;although not much is known of him. His sons, Pietro (1860-1922), who was known as a good hand-balancer, and Federico (?-?), an acrobat and clown, started the first Casartelli circus, with the help of their numerous offspring. As it was common in Italian circus families of the time, all of them were trained acrobats and equestrians (notably in bareback riders). When Pietro’s elder son, Umberto, better known as Romeo (1893-1933), died in 1933, the family split. &lt;br /&gt;
&lt;br /&gt;
Umberto’s wife, the courageous and strong-willed Rosina, née [[The Gerardi Fanily|Gerardi]] (1898-1974), went back on the road with her son Leonida (1924-1978) and her daughters Jonne (1919-1999), Liliana (1921-2004), and Lucina (1931- 2003). She became the matriarch of the Casartelli family, establishing through her progeny the basis of the Casartelli circus dynasty. With the three horses and a caravan she received after the family split, Rosina began to move slowly from the Italian northeast to the Piedmont region, hoping to rejoin her family’s Circo Gerardi. She set up a small traveling outdoor arena, offering equestrian and aerial performances with her children, while the audience sat on soapboxes. &lt;br /&gt;
&lt;br /&gt;
What was originally a survival move actually paid off: By 1936, Rosina’s show was known as the ''Arena Rosa''; by 1939, it was a full-fledged circus performing under a second-hand big top purchased from the [[The Togni Family|Togni]] circus. By 1941, her circus had become a legitimate and respectable enterprise, known as ''Circo Aurora''. During WWII, it played regularly the fairs of Tuscany, and Rosina combined her efforts in the winter with the Tognis, who ran what was by far at the time the most important circus in the country&amp;amp;mdash;and benefitted from the protection of the Fascist government. This association led to several Togni-Casartelli marriages, creating multiple ties between the two families.&lt;br /&gt;
&lt;br /&gt;
By the end of the war, Rosina’s sons and nephews had already produced dozens of new family members, and her son Leonida took over the reins of the ever-growing family circus. At the time, Italian circus tours centered on a calendar of seasonal fairs, of which one or more circuses were generally the main feature. It was established by the [[Ente Nazionale Circhi]] (the Italian circus proprietor’s association), which used for this purpose a specific ranking system.&lt;br /&gt;
&lt;br /&gt;
In 1949, three circuses were in the &amp;quot;first class&amp;quot; category: [[The Orfei Family|Orfei]], Togni, and [[The Jarz Family|Jarz]]. Leonida Casartelli’s Circo Aurora quickly reached the &amp;quot;second class,&amp;quot; along with [[The Zamperla|Zamperla]], [[Alberto Zoppé|Zoppé]], and [[The Cristiani Family|Cristiani]]. Being in a higher category meant an exclusive tour of the largest regional fairs of Italy, and consequently prosperous business. And business was booming: After having bought his first elephant, Leonida acquired in 1950 a group of lions trained by Amedeo Gerardi, which he presented himself.&lt;br /&gt;
&lt;br /&gt;
Under Leonida’s management, Circo Aurora regularly booked international acts, and it continued his association with the Togni family through the 1950s. In 1958, Circo Aurora caught the attention of Spanish impresario [[Osvaldo Silvestrini]], who regularly brought over foreign circuses in Cataluña&amp;amp;mdash;among which the Italian Togni, Jarz , and Cristiani circuses, and the French Beautour, Bostok-Robba, and [[The Bouglione Family|Bouglione]]. Circo Aurora’s success in Spain made it the first foreign company to expand its tour to other Spanish regions. &lt;br /&gt;
&lt;br /&gt;
===A Circus Of Many Names===&lt;br /&gt;
&lt;br /&gt;
In 1959 Leonida Casartelli’s circus, which was growing, changed its name to ''Circo Coliseum'' in order to return to Spanish towns that Circo Aurora had already visited the previous season. Circo Coliseum actually improved considerably on the original Aurora, traveling with the first tent equipped with a prototype of the &amp;quot;Italian&amp;quot; elongated cupola, and presenting a water pantomime. The show featured also some of the best Italian acrobats of the time, among whom the banquine act of the [[The Nicolodi Family|Nicolodis]], and the [[Duo Larible|Larible]] brothers’ Washington trapeze act. A group of liberty horses was also added, and the circus’s interior furnishings were improved&amp;amp;mdash;somehow influenced by the Spanish circus impresario [[Arturo Castilla]]’s decorative style. &lt;br /&gt;
&lt;br /&gt;
The Casartellis’ Spanish tour ended in 1960. Back in Italy, in the early 1960s, the circus’s name switched frequently from ''Coliseum'' to ''Kerr-Kroll'' and back. The latter title was designed to compete with that of [[Circus Krone]], the giant German circus, which often toured in Italy at the time. In April 1963, Leonida Casartelli took his circus into a sport arena in Istanbul, Turkey. Without informing the Casartellis, the local producer, Osman Kavran, advertised the circus as &amp;quot;MED.RA.N.O. presents Circo Casartelli&amp;quot;; the ambiguous acronym was meant to stand for ''MEDiterranean Radiotelevision And News Organization''. &lt;br /&gt;
&lt;br /&gt;
The Swoboda family, who had visited Turkey successfully before with their Austrian Circus Medrano, tried to have the use of that title, in whatever spelling, suppressed, but it was to no avail. Under the same banner, the Casartellis went afterward on a Turkish tour that extended to Sofia, in Bulgaria. When they returned to Italy (and subsequently visited other southern European countries) they adopted the title ''Circo di Barcelona'', and presented a lavish Spanish-style production, replete with a flamenco ballet company. In 1968 the circus visited Israel for the first time. &lt;br /&gt;
&lt;br /&gt;
In the following few years, they used a variety of names (sometimes for several units visiting different countries): ''Circo Nazionale Togni'', ''Circo di Francia'', ''Circo Tokio'', ''Magic Circus'', ''Circo di Israele'', and finally, in 1971, the Tognis’ ''Circo Heros'' title. However, by 1972, in spite of its numerous name changes, the Casartelli enterprise had become one of Italy’s largest circuses, and it was finding its own identity. The only major Italian circus not using railroad transportation, its logistics were smooth, and its productions were sumptuous, with danced introductions to the acts, a big orchestra, and elaborate scenery. And whereas Italian circuses flirted with water pantomimes, ice shows and three-ring hippodrome spectaculars, Casartelli prided itself on being the only major circus faithful to one-ring, classic format&amp;amp;mdash;&amp;quot;Il Circo al 100 per 100&amp;quot;, as it advertised itself. &lt;br /&gt;
&lt;br /&gt;
===Medrano &amp;amp;mdash; Il Circo Famoso Nel Mondo===&lt;br /&gt;
&lt;br /&gt;
Still, Leonida felt he still had to develop two important elements for his circus: a name with a strong popular appeal, and a big menagerie, as had become the norm in most major circuses in the northern part of Europe. The name ''Medrano'' had gained great popularity in Italy and in the Mediterranean countries. In these regions, the ''Medrano'' title was not connected to the celebrated Parisian circus, but to the circus founded in Austria in 1904 by [[Ludwig Swoboda]] (1881-1952), which was initially called [[Zirkus Lajos]] (''Lajos'' is the equivalent of ''Ludwig'' in Hungarian). &lt;br /&gt;
&lt;br /&gt;
In 1920, for a tour of Poland, where the name Lajos was sounding a little too Hungarian (and was thus politically incorrect), Swoboda changed his circus’s name, which became &amp;quot;Medrano from Wien&amp;quot;. The choice of ''Medrano'' had been obviously inspired to Ludwig Swoboda by the homonymous Parisian institution, then at the peak of its glory. ([[Jérôme Medrano]] repeatedly fought to prevent the illicit use of his name out of the French borders, but without success). &lt;br /&gt;
&lt;br /&gt;
And so, the Swobodas  toured extensively in Eastern Europe, the Balkans, and the Mediterranean countries&amp;amp;mdash;including Italy&amp;amp;mdash;under the title ''Medrano'' until the 1960s. After Ludwig’s death in 1952, the circus was managed by his daughters&amp;amp;mdash;three of whom, Therese, Anita and Wanda, had achieved considerable fame with their equestrian act, which they performed as the [[The Swoboda Family|Medrano Sisters]]. Circus Medrano-Swoboda (as it became known in the business to avoid confusion with its French counterpart) had eventually ceased its activities in 1969. &lt;br /&gt;
&lt;br /&gt;
Three of the Swoboda sisters, Therese, Anita and Helena (Hella), had married and settled in Italy, where they had rented the ''Medrano'' name to various Italian circuses. Therese had died in 1951, and Anita eventually left the circus; Hella, who had married Renato Medini, of the famous Italian circus family, eventually remained sole owner of the title. In 1972, ''Medrano'' seemed to Leonida Casartelli a perfect name for his circus: Casartelli exploited the same market as had the Swobodas, a market where the ''Medrano'' title had gained, over the years, prestige and recognition. He made a deal with Renato Medini, and legally purchased a name that belonged to the seller somewhat illegitimately. (Other abusive uses of the ''Medrano'' title would later appear in Europe.) &lt;br /&gt;
&lt;br /&gt;
The advertising of the new Circo Medrano announced &amp;quot;Medrano – Il Circo Famoso nel Mondo&amp;quot;, and introduced a series of colorful movie-style posters, designed by the painter Renato Casaro, which stressed Circo Medrano’s main feature: its vast animal collection. Leonida Casartelli had aggressively and quickly assembled one of the best traveling zoos of the era. His was the first Italian circus to introduce in its menagerie African elephants, giraffes, a rhino, an orangutan, and, as a star attraction, a couple of gorillas. &lt;br /&gt;
&lt;br /&gt;
Beside the horses, the stables included zebras, camels, and all sorts of exotic animals, and the cage wagons housed cats of every kind, monkeys, and even a host of colorful tropical birds. These animals were taken care of by fine animal trainers, with such famous names as Houcke, McManus, Smith, and Beautour, followed in time by some of Leonida’s sons. Davio (b.1956) became an elephant specialist, and Heros (b.1949) an expert equestrian&amp;amp;mdash;while Elio (b.1952) took care of the circus administration and performances, and their sisters Ghisi (b.1944), Jose (1947-1997), and Liviana (b.1960), supervised the different departments of the circus. &lt;br /&gt;
&lt;br /&gt;
They all were performers, too, who participated in various family acts (notably a beautiful high school ensemble), and they were surrounded by some of the greatest acts of the period. One of the trademarks of Medrano-Casartelli (as the circus would become known in the business) was the presentation of &amp;quot;exotic&amp;quot; troupes of performers&amp;amp;mdash;African dancers, Moroccan tumblers, teeterboard troupes from the Balkans&amp;amp;mdash;in the manner of the great German circuses ([[Circus Hagenbeck|Hagenbeck]], [[Circus Sarrasani|Sarrasani]]…) of pre-war Europe.&lt;br /&gt;
&lt;br /&gt;
===An Expanding Circus Empire===&lt;br /&gt;
&lt;br /&gt;
Leonida Casartelli died in 1978 in a car accident. The management of Circo Medrano was taken over by one of his nephews, Ugo De Rocchi, who expanded Medrano’s foreign tours, and emphasized the &amp;quot;grandeur&amp;quot; of the circus. For the 1980 winter season in Rome, Medrano set up an impressive display of three big tops and, in the menagerie tent, offered a shark fight&amp;amp;mdash;a first in Europe! The following winter, in Milan, [[The Knie Dynasty|Louis Knie, Jr.]] joined the company with his tigers and elephants; later, in the spring, 250,000 people visited the circus in Tel Aviv. The 1982 season even saw the circus in Vienna, in direct competition with the giant Circus Krone.  &lt;br /&gt;
&lt;br /&gt;
In 1987, Medrano-Casartelli did its first tour in France, where its impressive menagerie&amp;amp;mdash;the like of which had not been seen in that country for a long while&amp;amp;mdash;was a sensation. But in France, where the title ''Medrano'' was duly protected and was the exclusive property of the Medrano family, the Casartellis were forced to change the name of their circus, which disappeared from all the vehicles and other visible locations and was replaced by ''Circo Italiano''. The show, which included a water pantomime, was presented by the famous French ringmaster, [[Sergio]].&lt;br /&gt;
&lt;br /&gt;
In the winter of 1993, the circus stayed four months in Athens, Greece, presenting two different programs in succession. During the 1990s, a second Casartelli unit traveled with water spectaculars and circus ice shows throughout Europe. At the same time, the family interests were expanded with the purchase of some of Italy’s biggest zoos and theme parks. &lt;br /&gt;
&lt;br /&gt;
Meanwhile, the extended Casartelli family spread around the globe: [[David Larible]], the son of Lucina Casartelli, became a world-famous clown, and his sister, [[Vivien Larible|Vivien]], a successful trapeze artist; of Liliana’s sons (who had married Wioris Togni), Holer became one of Europe’s best car stuntmen, and Divier, a major sport arena entrepreneur; Steve and Ronni Bello, the sons of Jose (who had married the juggler Luciano Bello), starred in a remarkable risley act at [[Circus Roncalli]], and then in [[Cirque du Soleil]]’s ''Varekai''. In 1996 the family created an extraordinary, twenty-five-minute equestrian display called ''Festa del Cavallo'', in which a dozen family members combined pyramids on horseback, jockey act, high school, pas-de-deux and liberty presentations. It received a Gold Clown at the [[International Circus Festival of Monte Carlo]]. Afterwards, in 1997, the Casartellis did a short tour in France, this time using their own name as a title: Circo Casartelli.&lt;br /&gt;
&lt;br /&gt;
===The Casartellis Today===&lt;br /&gt;
&lt;br /&gt;
After 2000, Ugo De Rocchi’s interests became concentrated on the family’s theme park business, and the control of the circus passed into the hands of Leonida’s three sons, Heros, Davio, and Elio. In 2007, the Casartelli family won for the second time a Gold Clown at the Monte Carlo festival, with a pas-de-deux on horseback, two equestrian displays, and ''Aladdin'', an &amp;quot;oriental&amp;quot; circus pantomime in the grand old classic manner, which included no less that fifty performers and assistants (mostly family members), with a cornucopia of animals, among which a group of African elephants, a kangaroo, and two giraffes.&lt;br /&gt;
&lt;br /&gt;
Circo Medrano spends basically the winter months in Italy with one or two units, and spends the rest of the year on tour abroad. Davio, who has created a spectacular act with an African elephant and two tigers, has toured with [[Circus Louis Knie]] in Austria and Germany, and with [[Cirque Arlette Gruss]] in France. Elio’s son, Brian (b.1977), took charge of the numerous exotic animals, and has produced an equestrian pas-de-deux with his sister Ingrid (b.1979), which includes Ingrid’s balancing on one foot on her brother’s head, while they are riding on horseback&amp;amp;mdash;a trick never seen before in the rich annals of the equestrian arts.&lt;br /&gt;
&lt;br /&gt;
For its 2011 season, Circo Medrano-Casartelli was able to advertise (and truly show) three Gold and five Silver Clown winners from the International Circus Festival of Monte-Carlo&amp;amp;mdash;a feat that illustrates well the exceptional quality of their circus productions. Since 1990, the Casartellis have performed in Austria, Spain, France, Turkey, Greece, Israel, Cyprus, Malta, Serbia, Croatia, Slovenia, Syria, Bulgaria, Romania, Hungary, and Czechoslovakia. They are indeed the greatest ambassadors of the grand Italian circus tradition.&lt;br /&gt;
&lt;br /&gt;
==Suggested Reading==&lt;br /&gt;
&lt;br /&gt;
* Alessandro Cervelatti, ''Questa Sera Grande Spettacolo'' (Milano, Edizione Avanti!, 1961) &lt;br /&gt;
* Enrico and Serena Bassano, ''Una donna, un circo: Rosina Casartelli'' (Genova, La Stampa, 1997)&lt;br /&gt;
* Alessandra Litta Modignani, Sandra Montovani, ''Il circo della memoria'' (Trento, Publistampa Edizioni, 2008) — ISBN 978-88-902506-7-5&lt;br /&gt;
* Raffaele de Ritis, ''Storia del Circo - degli acrobati egizi al Cirque du Soleil'' (Roma, Bulzoni Editore, 2008) — ISBN 978-88-7870-317-9&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Video: [[Eros_Casartelli_Video_(1987)|Eros Casartelli, mixed animal act]], at the International Circus Festival of Monte Carlo (1987)&lt;br /&gt;
&lt;br /&gt;
==Image Gallery==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;Gallery&amp;gt;&lt;br /&gt;
File:Orfei_Casartelli_Togni.jpg|Ferdinando Togni, Darix Togni, Leonida Casartelli and Nando Orfei (c.1970)&lt;br /&gt;
File:Medrano_Casartelli.jpg|Poster for Circo Medrano (1974)&lt;br /&gt;
File:Casartelli_Israel.jpg|Circo Medrano in Israel (1985)&lt;br /&gt;
File:Casartelli_France.jpg|Circo Casartelli in France (1997)&lt;br /&gt;
File:Circo_Casartelli_97.jpg|Circo Casartelli in France (1997)&lt;br /&gt;
File:Casartelli_Greece.jpg|Poster for Circo Medrano in Greece (2019)&lt;br /&gt;
File:Medrano-Casartelli_Firenze.jpg|Poster for Circo Medrano in Florence (2019)&lt;br /&gt;
&amp;lt;/Gallery&amp;gt;&lt;br /&gt;
&lt;br /&gt;
[[Category:History|Casartelli Family]][[Category:Circus Owners and Directors|Casartelli Family]][[Category:Animal Trainers|Casartelli Family]][[Category:Exotic Animals|Casartelli Family]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=The_Casartelli_Family&amp;diff=36498</id>
		<title>The Casartelli Family</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=The_Casartelli_Family&amp;diff=36498"/>
				<updated>2021-08-24T23:22:27Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: /* An Expanding Circus Empire */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;[[File:Circo_Casartelli_97.jpg|right|300px]]&lt;br /&gt;
''By Raffaele de Ritis''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Circo Medrano-Casartelli==&lt;br /&gt;
&lt;br /&gt;
The Casartelli family is one of Italy’s most prominent circus families; they are also well known in the Mediterranean countries, the Balkans, and even Israel, where they tour regularly&amp;amp;mdash;although the name Casartelli rarely appears on their circuses’ marquees. They have used different titles over the years, most famously ''Medrano''&amp;amp;mdash;a title they purchased from the [[The Swoboda Family|Swoboda]] family of Austria, and which had no connection (beside the use of its famous name) with the legendary [[Cirque Medrano (Paris)|Parisian circus]].  &lt;br /&gt;
&lt;br /&gt;
The Casartellis run perhaps the most widely traveled circus organization in activity, having visited no less than twenty countries, some regularly, over the past seventy years (as of 2020)&amp;amp;mdash;sometimes with up to three units touring simultaneously. They are also active in the safari and theme park business. In contrast to typical century-old Italian circus dynasties, the Casartelli family managed to become in just a few decades one of the largest circus families in Europe; it counts today about one hundred members. &lt;br /&gt;
&lt;br /&gt;
They have revived at its best the prewar tradition of the great European traveling circuses-and-menagerie, with a large family-based company surrounded by some of the best acts in business. As artists, especially equestrians and animal trainers, the Casartellis won two Gold Clowns at the [[International Circus Festival of Monte Carlo]] (in 1996 and 2007), and they have given six command performances for four different Popes at the Vatican.&lt;br /&gt;
&lt;br /&gt;
===Mamma Rosina and Circo Aurora===&lt;br /&gt;
&lt;br /&gt;
The first known Casartelli active in the circus was Giuseppe Casartelli, who performed in the 1850s&amp;amp;mdash;although not much is known of him. His sons, Pietro (1860-1922), who was known as a good hand-balancer, and Federico (?-?), an acrobat and clown, started the first Casartelli circus, with the help of their numerous offspring. As it was common in Italian circus families of the time, all of them were trained acrobats and equestrians (notably in bareback riders). When Pietro’s elder son, Umberto, better known as Romeo (1893-1933), died in 1933, the family split. &lt;br /&gt;
&lt;br /&gt;
Umberto’s wife, the courageous and strong-willed Rosina, née [[The Gerardi Fanily|Gerardi]] (1898-1974), went back on the road with her son Leonida (1924-1978) and her daughters Jonne (1919-1999), Liliana (1921-2004), and Lucina (1931- 2003). She became the matriarch of the Casartelli family, establishing through her progeny the basis of the Casartelli circus dynasty. With the three horses and a caravan she received after the family split, Rosina began to move slowly from the Italian northeast to the Piedmont region, hoping to rejoin her family’s Circo Gerardi. She set up a small traveling outdoor arena, offering equestrian and aerial performances with her children, while the audience sat on soapboxes. &lt;br /&gt;
&lt;br /&gt;
What was originally a survival move actually paid off: By 1936, Rosina’s show was known as the ''Arena Rosa''; by 1939, it was a full-fledged circus performing under a second-hand big top purchased from the [[The Togni Family|Togni]] circus. By 1941, her circus had become a legitimate and respectable enterprise, known as ''Circo Aurora''. During WWII, it played regularly the fairs of Tuscany, and Rosina combined her efforts in the winter with the Tognis, who ran what was by far at the time the most important circus in the country&amp;amp;mdash;and benefitted from the protection of the Fascist government. This association led to several Togni-Casartelli marriages, creating multiple ties between the two families.&lt;br /&gt;
&lt;br /&gt;
By the end of the war, Rosina’s sons and nephews had already produced dozens of new family members, and her son Leonida took over the reins of the ever-growing family circus. At the time, Italian circus tours centered on a calendar of seasonal fairs, of which one or more circuses were generally the main feature. It was established by the [[Ente Nazionale Circhi]] (the Italian circus proprietor’s association), which used for this purpose a specific ranking system.&lt;br /&gt;
&lt;br /&gt;
In 1949, three circuses were in the &amp;quot;first class&amp;quot; category: [[The Orfei Family|Orfei]], Togni, and [[The Jarz Family|Jarz]]. Leonida Casartelli’s Circo Aurora quickly reached the &amp;quot;second class,&amp;quot; along with [[The Zamperla|Zamperla]], [[Alberto Zoppé|Zoppé]], and [[The Cristiani Family|Cristiani]]. Being in a higher category meant an exclusive tour of the largest regional fairs of Italy, and consequently prosperous business. And business was booming: After having bought his first elephant, Leonida acquired in 1950 a group of lions trained by Amedeo Gerardi, which he presented himself.&lt;br /&gt;
&lt;br /&gt;
Under Leonida’s management, Circo Aurora regularly booked international acts, and it continued his association with the Togni family through the 1950s. In 1958, Circo Aurora caught the attention of Spanish impresario [[Osvaldo Silvestrini]], who regularly brought over foreign circuses in Cataluña&amp;amp;mdash;among which the Italian Togni, Jarz , and Cristiani circuses, and the French Beautour, Bostok-Robba, and [[The Bouglione Family|Bouglione]]. Circo Aurora’s success in Spain made it the first foreign company to expand its tour to other Spanish regions. &lt;br /&gt;
&lt;br /&gt;
===A Circus Of Many Names===&lt;br /&gt;
&lt;br /&gt;
In 1959 Leonida Casartelli’s circus, which was growing, changed its name to ''Circo Coliseum'' in order to return to Spanish towns that Circo Aurora had already visited the previous season. Circo Coliseum actually improved considerably on the original Aurora, traveling with the first tent equipped with a prototype of the &amp;quot;Italian&amp;quot; elongated cupola, and presenting a water pantomime. The show featured also some of the best Italian acrobats of the time, among whom the banquine act of the [[The Nicolodi Family|Nicolodis]], and the [[Duo Larible|Larible]] brothers’ Washington trapeze act. A group of liberty horses was also added, and the circus’s interior furnishings were improved&amp;amp;mdash;somehow influenced by the Spanish circus impresario [[Arturo Castilla]]’s decorative style. &lt;br /&gt;
&lt;br /&gt;
The Casartellis’ Spanish tour ended in 1960. Back in Italy, in the early 1960s, the circus’s name switched frequently from ''Coliseum'' to ''Kerr-Kroll'' and back. The latter title was designed to compete with that of [[Circus Krone]], the giant German circus, which often toured in Italy at the time. In April 1963, Leonida Casartelli took his circus into a sport arena in Istanbul, Turkey. Without informing the Casartellis, the local producer, Osman Kavran, advertised the circus as &amp;quot;MED.RA.N.O. presents Circo Casartelli&amp;quot;; the ambiguous acronym was meant to stand for ''MEDiterranean Radiotelevision And News Organization''. &lt;br /&gt;
&lt;br /&gt;
The Swoboda family, who had visited Turkey successfully before with their Austrian Circus Medrano, tried to have the use of that title, in whatever spelling, suppressed, but it was to no avail. Under the same banner, the Casartellis went afterward on a Turkish tour that extended to Sofia, in Bulgaria. When they returned to Italy (and subsequently visited other southern European countries) they adopted the title ''Circo di Barcelona'', and presented a lavish Spanish-style production, replete with a flamenco ballet company. In 1968 the circus visited Israel for the first time. &lt;br /&gt;
&lt;br /&gt;
In the following few years, they used a variety of names (sometimes for several units visiting different countries): ''Circo Nazionale Togni'', ''Circo di Francia'', ''Circo Tokio'', ''Magic Circus'', ''Circo di Israele'', and finally, in 1971, the Tognis’ ''Circo Heros'' title. However, by 1972, in spite of its numerous name changes, the Casartelli enterprise had become one of Italy’s largest circuses, and it was finding its own identity. The only major Italian circus not using railroad transportation, its logistics were smooth, and its productions were sumptuous, with danced introductions to the acts, a big orchestra, and elaborate scenery. And whereas Italian circuses flirted with water pantomimes, ice shows and three-ring hippodrome spectaculars, Casartelli prided itself on being the only major circus faithful to one-ring, classic format&amp;amp;mdash;&amp;quot;Il Circo al 100 per 100&amp;quot;, as it advertised itself. &lt;br /&gt;
&lt;br /&gt;
===Medrano &amp;amp;mdash; Il Circo Famoso Nel Mondo===&lt;br /&gt;
&lt;br /&gt;
Still, Leonida felt he still had to develop two important elements for his circus: a name with a strong popular appeal, and a big menagerie, as had become the norm in most major circuses in the northern part of Europe. The name ''Medrano'' had gained great popularity in Italy and in the Mediterranean countries. In these regions, the ''Medrano'' title was not connected to the celebrated Parisian circus, but to the circus founded in Austria in 1904 by [[Ludwig Swoboda]] (1881-1952), which was initially called [[Zirkus Lajos]] (''Lajos'' is the equivalent of ''Ludwig'' in Hungarian). &lt;br /&gt;
&lt;br /&gt;
In 1920, for a tour of Poland, where the name Lajos was sounding a little too Hungarian (and was thus politically incorrect), Swoboda changed his circus’s name, which became &amp;quot;Medrano from Wien&amp;quot;. The choice of ''Medrano'' had been obviously inspired to Ludwig Swoboda by the homonymous Parisian institution, then at the peak of its glory. ([[Jérôme Medrano]] repeatedly fought to prevent the illicit use of his name out of the French borders, but without success). &lt;br /&gt;
&lt;br /&gt;
And so, the Swobodas  toured extensively in Eastern Europe, the Balkans, and the Mediterranean countries&amp;amp;mdash;including Italy&amp;amp;mdash;under the title ''Medrano'' until the 1960s. After Ludwig’s death in 1952, the circus was managed by his daughters&amp;amp;mdash;three of whom, Therese, Anita and Wanda, had achieved considerable fame with their equestrian act, which they performed as the [[The Swoboda Family|Medrano Sisters]]. Circus Medrano-Swoboda (as it became known in the business to avoid confusion with its French counterpart) had eventually ceased its activities in 1969. &lt;br /&gt;
&lt;br /&gt;
Three of the Swoboda sisters, Therese, Anita and Helena (Hella), had married and settled in Italy, where they had rented the ''Medrano'' name to various Italian circuses. Therese had died in 1951, and Anita eventually left the circus; Hella, who had married Renato Medini, of the famous Italian circus family, eventually remained sole owner of the title. In 1972, ''Medrano'' seemed to Leonida Casartelli a perfect name for his circus: Casartelli exploited the same market as had the Swobodas, a market where the ''Medrano'' title had gained, over the years, prestige and recognition. He made a deal with Renato Medini, and legally purchased a name that belonged to the seller somewhat illegitimately. (Other abusive uses of the ''Medrano'' title would later appear in Europe.) &lt;br /&gt;
&lt;br /&gt;
The advertising of the new Circo Medrano announced &amp;quot;Medrano – Il Circo Famoso nel Mondo&amp;quot;, and introduced a series of colorful movie-style posters, designed by the painter Renato Casaro, which stressed Circo Medrano’s main feature: its vast animal collection. Leonida Casartelli had aggressively and quickly assembled one of the best traveling zoos of the era. His was the first Italian circus to introduce in its menagerie African elephants, giraffes, a rhino, an orangutan, and, as a star attraction, a couple of gorillas. &lt;br /&gt;
&lt;br /&gt;
Beside the horses, the stables included zebras, camels, and all sorts of exotic animals, and the cage wagons housed cats of every kind, monkeys, and even a host of colorful tropical birds. These animals were taken care of by fine animal trainers, with such famous names as Houcke, McManus, Smith, and Beautour, followed in time by some of Leonida’s sons. Davio (b.1956) became an elephant specialist, and Heros (b.1949) an expert equestrian&amp;amp;mdash;while Elio (b.1952) took care of the circus administration and performances, and their sisters Ghisi (b.1944), Jose (1947-1997), and Liviana (b.1960), supervised the different departments of the circus. &lt;br /&gt;
&lt;br /&gt;
They all were performers, too, who participated in various family acts (notably a beautiful high school ensemble), and they were surrounded by some of the greatest acts of the period. One of the trademarks of Medrano-Casartelli (as the circus would become known in the business) was the presentation of &amp;quot;exotic&amp;quot; troupes of performers&amp;amp;mdash;African dancers, Moroccan tumblers, teeterboard troupes from the Balkans&amp;amp;mdash;in the manner of the great German circuses ([[Circus Hagenbeck|Hagenbeck]], [[Circus Sarrasani|Sarrasani]]…) of pre-war Europe.&lt;br /&gt;
&lt;br /&gt;
===An Expanding Circus Empire===&lt;br /&gt;
&lt;br /&gt;
Leonida Casartelli died in 1978 in a car accident. The management of Circo Medrano was taken over by one of his nephews, Ugo De Rocchi, who expanded Medrano’s foreign tours, and emphasized the &amp;quot;grandeur&amp;quot; of the circus. For the 1980 winter season in Rome, Medrano set up an impressive display of three big tops and, in the menagerie tent, offered a shark fight&amp;amp;mdash;a first in Europe! The following winter, in Milan, [[The Knie Dynasty|Louis Knie, Jr.]] joined the company with his tigers and elephants; later, in the spring, 250,000 people visited the circus in Tel Aviv. The 1982 season even saw the circus in Vienna, in direct competition with the giant Circus Krone.  &lt;br /&gt;
&lt;br /&gt;
In 1987, Medrano-Casartelli did its first tour in France, where its impressive menagerie&amp;amp;mdash;the like of which had not been seen in that country for a long while&amp;amp;mdash;was a sensation. But in France, where the title ''Medrano'' was duly protected and was the exclusive property of the Medrano family, the Casartellis were forced to change the name of their circus, which disappeared from all the vehicles and other visible locations and was replaced by ''Circo Italiano''. The show, which included a water pantomime, was presented by the famous French ringmaster, [[Sergio]].&lt;br /&gt;
&lt;br /&gt;
In the winter of 1993, the circus stayed four months in Athens, Greece, presenting two different programs in succession. During the 1990s, a second Casartelli unit traveled with water spectaculars and circus ice shows throughout Europe. At the same time, the family interests were expanded with the purchase of some of Italy’s biggest zoos and theme parks. &lt;br /&gt;
&lt;br /&gt;
Meanwhile, the extended Casartelli family spread around the globe: [[David Larible]], the son of Lucina Casartelli, became a world-famous clown, and his sister, [[Vivien Larible|Vivien]], a successful trapeze artist; of Liliana’s sons (who had married Wioris Togni), Holer became one of Europe’s best car stuntmen, and Divier, a major sport arena entrepreneur; Steve and Ronni Bello, the sons of Jose (who had married the juggler Luciano Bello), starred in a remarkable risley act at [[Circus Roncalli]], and then in [[Cirque du Soleil]]’s ''Varekai''. In 1996 the family created an extraordinary, twenty-five-minute equestrian display called ''Festa del Cavallo'', in which a dozen family members combined pyramids on horseback, jockey act, high school, pas-de-deux and liberty presentations. It received a Gold Clown at the [[International Circus Festival of Monte Carlo]].&lt;br /&gt;
&lt;br /&gt;
===The Casartellis Today===&lt;br /&gt;
&lt;br /&gt;
After 2000, Ugo De Rocchi’s interests became concentrated on the family’s theme park business, and the control of the circus passed into the hands of Leonida’s three sons, Heros, Davio, and Elio. In 2007, the Casartelli family won for the second time a Gold Clown at the Monte Carlo festival, with a pas-de-deux on horseback, two equestrian displays, and ''Aladdin'', an &amp;quot;oriental&amp;quot; circus pantomime in the grand old classic manner, which included no less that fifty performers and assistants (mostly family members), with a cornucopia of animals, among which a group of African elephants, a kangaroo, and two giraffes.&lt;br /&gt;
&lt;br /&gt;
Circo Medrano spends basically the winter months in Italy with one or two units, and spends the rest of the year on tour abroad. Davio, who has created a spectacular act with an African elephant and two tigers, has toured with [[Circus Louis Knie]] in Austria and Germany, and with [[Cirque Arlette Gruss]] in France. Elio’s son, Brian (b.1977), took charge of the numerous exotic animals, and has produced an equestrian pas-de-deux with his sister Ingrid (b.1979), which includes Ingrid’s balancing on one foot on her brother’s head, while they are riding on horseback&amp;amp;mdash;a trick never seen before in the rich annals of the equestrian arts.&lt;br /&gt;
&lt;br /&gt;
For its 2011 season, Circo Medrano-Casartelli was able to advertise (and truly show) three Gold and five Silver Clown winners from the International Circus Festival of Monte-Carlo&amp;amp;mdash;a feat that illustrates well the exceptional quality of their circus productions. Since 1990, the Casartellis have performed in Austria, Spain, France, Turkey, Greece, Israel, Cyprus, Malta, Serbia, Croatia, Slovenia, Syria, Bulgaria, Romania, Hungary, and Czechoslovakia. They are indeed the greatest ambassadors of the grand Italian circus tradition.&lt;br /&gt;
&lt;br /&gt;
==Suggested Reading==&lt;br /&gt;
&lt;br /&gt;
* Alessandro Cervelatti, ''Questa Sera Grande Spettacolo'' (Milano, Edizione Avanti!, 1961) &lt;br /&gt;
* Enrico and Serena Bassano, ''Una donna, un circo: Rosina Casartelli'' (Genova, La Stampa, 1997)&lt;br /&gt;
* Alessandra Litta Modignani, Sandra Montovani, ''Il circo della memoria'' (Trento, Publistampa Edizioni, 2008) — ISBN 978-88-902506-7-5&lt;br /&gt;
* Raffaele de Ritis, ''Storia del Circo - degli acrobati egizi al Cirque du Soleil'' (Roma, Bulzoni Editore, 2008) — ISBN 978-88-7870-317-9&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Video: [[Eros_Casartelli_Video_(1987)|Eros Casartelli, mixed animal act]], at the International Circus Festival of Monte Carlo (1987)&lt;br /&gt;
&lt;br /&gt;
==Image Gallery==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;Gallery&amp;gt;&lt;br /&gt;
File:Orfei_Casartelli_Togni.jpg|Ferdinando Togni, Darix Togni, Leonida Casartelli and Nando Orfei (c.1970)&lt;br /&gt;
File:Medrano_Casartelli.jpg|Poster for Circo Medrano (1974)&lt;br /&gt;
File:Casartelli_Israel.jpg|Circo Medrano in Israel (1985)&lt;br /&gt;
File:Casartelli_France.jpg|Circo Casartelli in France (1997)&lt;br /&gt;
File:Circo_Casartelli_97.jpg|Circo Casartelli in France (1997)&lt;br /&gt;
File:Casartelli_Greece.jpg|Poster for Circo Medrano in Greece (2019)&lt;br /&gt;
File:Medrano-Casartelli_Firenze.jpg|Poster for Circo Medrano in Florence (2019)&lt;br /&gt;
&amp;lt;/Gallery&amp;gt;&lt;br /&gt;
&lt;br /&gt;
[[Category:History|Casartelli Family]][[Category:Circus Owners and Directors|Casartelli Family]][[Category:Animal Trainers|Casartelli Family]][[Category:Exotic Animals|Casartelli Family]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=The_Casartelli_Family&amp;diff=36497</id>
		<title>The Casartelli Family</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=The_Casartelli_Family&amp;diff=36497"/>
				<updated>2021-08-24T23:19:05Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: /* Image Gallery */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;[[File:Circo_Casartelli_97.jpg|right|300px]]&lt;br /&gt;
''By Raffaele de Ritis''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Circo Medrano-Casartelli==&lt;br /&gt;
&lt;br /&gt;
The Casartelli family is one of Italy’s most prominent circus families; they are also well known in the Mediterranean countries, the Balkans, and even Israel, where they tour regularly&amp;amp;mdash;although the name Casartelli rarely appears on their circuses’ marquees. They have used different titles over the years, most famously ''Medrano''&amp;amp;mdash;a title they purchased from the [[The Swoboda Family|Swoboda]] family of Austria, and which had no connection (beside the use of its famous name) with the legendary [[Cirque Medrano (Paris)|Parisian circus]].  &lt;br /&gt;
&lt;br /&gt;
The Casartellis run perhaps the most widely traveled circus organization in activity, having visited no less than twenty countries, some regularly, over the past seventy years (as of 2020)&amp;amp;mdash;sometimes with up to three units touring simultaneously. They are also active in the safari and theme park business. In contrast to typical century-old Italian circus dynasties, the Casartelli family managed to become in just a few decades one of the largest circus families in Europe; it counts today about one hundred members. &lt;br /&gt;
&lt;br /&gt;
They have revived at its best the prewar tradition of the great European traveling circuses-and-menagerie, with a large family-based company surrounded by some of the best acts in business. As artists, especially equestrians and animal trainers, the Casartellis won two Gold Clowns at the [[International Circus Festival of Monte Carlo]] (in 1996 and 2007), and they have given six command performances for four different Popes at the Vatican.&lt;br /&gt;
&lt;br /&gt;
===Mamma Rosina and Circo Aurora===&lt;br /&gt;
&lt;br /&gt;
The first known Casartelli active in the circus was Giuseppe Casartelli, who performed in the 1850s&amp;amp;mdash;although not much is known of him. His sons, Pietro (1860-1922), who was known as a good hand-balancer, and Federico (?-?), an acrobat and clown, started the first Casartelli circus, with the help of their numerous offspring. As it was common in Italian circus families of the time, all of them were trained acrobats and equestrians (notably in bareback riders). When Pietro’s elder son, Umberto, better known as Romeo (1893-1933), died in 1933, the family split. &lt;br /&gt;
&lt;br /&gt;
Umberto’s wife, the courageous and strong-willed Rosina, née [[The Gerardi Fanily|Gerardi]] (1898-1974), went back on the road with her son Leonida (1924-1978) and her daughters Jonne (1919-1999), Liliana (1921-2004), and Lucina (1931- 2003). She became the matriarch of the Casartelli family, establishing through her progeny the basis of the Casartelli circus dynasty. With the three horses and a caravan she received after the family split, Rosina began to move slowly from the Italian northeast to the Piedmont region, hoping to rejoin her family’s Circo Gerardi. She set up a small traveling outdoor arena, offering equestrian and aerial performances with her children, while the audience sat on soapboxes. &lt;br /&gt;
&lt;br /&gt;
What was originally a survival move actually paid off: By 1936, Rosina’s show was known as the ''Arena Rosa''; by 1939, it was a full-fledged circus performing under a second-hand big top purchased from the [[The Togni Family|Togni]] circus. By 1941, her circus had become a legitimate and respectable enterprise, known as ''Circo Aurora''. During WWII, it played regularly the fairs of Tuscany, and Rosina combined her efforts in the winter with the Tognis, who ran what was by far at the time the most important circus in the country&amp;amp;mdash;and benefitted from the protection of the Fascist government. This association led to several Togni-Casartelli marriages, creating multiple ties between the two families.&lt;br /&gt;
&lt;br /&gt;
By the end of the war, Rosina’s sons and nephews had already produced dozens of new family members, and her son Leonida took over the reins of the ever-growing family circus. At the time, Italian circus tours centered on a calendar of seasonal fairs, of which one or more circuses were generally the main feature. It was established by the [[Ente Nazionale Circhi]] (the Italian circus proprietor’s association), which used for this purpose a specific ranking system.&lt;br /&gt;
&lt;br /&gt;
In 1949, three circuses were in the &amp;quot;first class&amp;quot; category: [[The Orfei Family|Orfei]], Togni, and [[The Jarz Family|Jarz]]. Leonida Casartelli’s Circo Aurora quickly reached the &amp;quot;second class,&amp;quot; along with [[The Zamperla|Zamperla]], [[Alberto Zoppé|Zoppé]], and [[The Cristiani Family|Cristiani]]. Being in a higher category meant an exclusive tour of the largest regional fairs of Italy, and consequently prosperous business. And business was booming: After having bought his first elephant, Leonida acquired in 1950 a group of lions trained by Amedeo Gerardi, which he presented himself.&lt;br /&gt;
&lt;br /&gt;
Under Leonida’s management, Circo Aurora regularly booked international acts, and it continued his association with the Togni family through the 1950s. In 1958, Circo Aurora caught the attention of Spanish impresario [[Osvaldo Silvestrini]], who regularly brought over foreign circuses in Cataluña&amp;amp;mdash;among which the Italian Togni, Jarz , and Cristiani circuses, and the French Beautour, Bostok-Robba, and [[The Bouglione Family|Bouglione]]. Circo Aurora’s success in Spain made it the first foreign company to expand its tour to other Spanish regions. &lt;br /&gt;
&lt;br /&gt;
===A Circus Of Many Names===&lt;br /&gt;
&lt;br /&gt;
In 1959 Leonida Casartelli’s circus, which was growing, changed its name to ''Circo Coliseum'' in order to return to Spanish towns that Circo Aurora had already visited the previous season. Circo Coliseum actually improved considerably on the original Aurora, traveling with the first tent equipped with a prototype of the &amp;quot;Italian&amp;quot; elongated cupola, and presenting a water pantomime. The show featured also some of the best Italian acrobats of the time, among whom the banquine act of the [[The Nicolodi Family|Nicolodis]], and the [[Duo Larible|Larible]] brothers’ Washington trapeze act. A group of liberty horses was also added, and the circus’s interior furnishings were improved&amp;amp;mdash;somehow influenced by the Spanish circus impresario [[Arturo Castilla]]’s decorative style. &lt;br /&gt;
&lt;br /&gt;
The Casartellis’ Spanish tour ended in 1960. Back in Italy, in the early 1960s, the circus’s name switched frequently from ''Coliseum'' to ''Kerr-Kroll'' and back. The latter title was designed to compete with that of [[Circus Krone]], the giant German circus, which often toured in Italy at the time. In April 1963, Leonida Casartelli took his circus into a sport arena in Istanbul, Turkey. Without informing the Casartellis, the local producer, Osman Kavran, advertised the circus as &amp;quot;MED.RA.N.O. presents Circo Casartelli&amp;quot;; the ambiguous acronym was meant to stand for ''MEDiterranean Radiotelevision And News Organization''. &lt;br /&gt;
&lt;br /&gt;
The Swoboda family, who had visited Turkey successfully before with their Austrian Circus Medrano, tried to have the use of that title, in whatever spelling, suppressed, but it was to no avail. Under the same banner, the Casartellis went afterward on a Turkish tour that extended to Sofia, in Bulgaria. When they returned to Italy (and subsequently visited other southern European countries) they adopted the title ''Circo di Barcelona'', and presented a lavish Spanish-style production, replete with a flamenco ballet company. In 1968 the circus visited Israel for the first time. &lt;br /&gt;
&lt;br /&gt;
In the following few years, they used a variety of names (sometimes for several units visiting different countries): ''Circo Nazionale Togni'', ''Circo di Francia'', ''Circo Tokio'', ''Magic Circus'', ''Circo di Israele'', and finally, in 1971, the Tognis’ ''Circo Heros'' title. However, by 1972, in spite of its numerous name changes, the Casartelli enterprise had become one of Italy’s largest circuses, and it was finding its own identity. The only major Italian circus not using railroad transportation, its logistics were smooth, and its productions were sumptuous, with danced introductions to the acts, a big orchestra, and elaborate scenery. And whereas Italian circuses flirted with water pantomimes, ice shows and three-ring hippodrome spectaculars, Casartelli prided itself on being the only major circus faithful to one-ring, classic format&amp;amp;mdash;&amp;quot;Il Circo al 100 per 100&amp;quot;, as it advertised itself. &lt;br /&gt;
&lt;br /&gt;
===Medrano &amp;amp;mdash; Il Circo Famoso Nel Mondo===&lt;br /&gt;
&lt;br /&gt;
Still, Leonida felt he still had to develop two important elements for his circus: a name with a strong popular appeal, and a big menagerie, as had become the norm in most major circuses in the northern part of Europe. The name ''Medrano'' had gained great popularity in Italy and in the Mediterranean countries. In these regions, the ''Medrano'' title was not connected to the celebrated Parisian circus, but to the circus founded in Austria in 1904 by [[Ludwig Swoboda]] (1881-1952), which was initially called [[Zirkus Lajos]] (''Lajos'' is the equivalent of ''Ludwig'' in Hungarian). &lt;br /&gt;
&lt;br /&gt;
In 1920, for a tour of Poland, where the name Lajos was sounding a little too Hungarian (and was thus politically incorrect), Swoboda changed his circus’s name, which became &amp;quot;Medrano from Wien&amp;quot;. The choice of ''Medrano'' had been obviously inspired to Ludwig Swoboda by the homonymous Parisian institution, then at the peak of its glory. ([[Jérôme Medrano]] repeatedly fought to prevent the illicit use of his name out of the French borders, but without success). &lt;br /&gt;
&lt;br /&gt;
And so, the Swobodas  toured extensively in Eastern Europe, the Balkans, and the Mediterranean countries&amp;amp;mdash;including Italy&amp;amp;mdash;under the title ''Medrano'' until the 1960s. After Ludwig’s death in 1952, the circus was managed by his daughters&amp;amp;mdash;three of whom, Therese, Anita and Wanda, had achieved considerable fame with their equestrian act, which they performed as the [[The Swoboda Family|Medrano Sisters]]. Circus Medrano-Swoboda (as it became known in the business to avoid confusion with its French counterpart) had eventually ceased its activities in 1969. &lt;br /&gt;
&lt;br /&gt;
Three of the Swoboda sisters, Therese, Anita and Helena (Hella), had married and settled in Italy, where they had rented the ''Medrano'' name to various Italian circuses. Therese had died in 1951, and Anita eventually left the circus; Hella, who had married Renato Medini, of the famous Italian circus family, eventually remained sole owner of the title. In 1972, ''Medrano'' seemed to Leonida Casartelli a perfect name for his circus: Casartelli exploited the same market as had the Swobodas, a market where the ''Medrano'' title had gained, over the years, prestige and recognition. He made a deal with Renato Medini, and legally purchased a name that belonged to the seller somewhat illegitimately. (Other abusive uses of the ''Medrano'' title would later appear in Europe.) &lt;br /&gt;
&lt;br /&gt;
The advertising of the new Circo Medrano announced &amp;quot;Medrano – Il Circo Famoso nel Mondo&amp;quot;, and introduced a series of colorful movie-style posters, designed by the painter Renato Casaro, which stressed Circo Medrano’s main feature: its vast animal collection. Leonida Casartelli had aggressively and quickly assembled one of the best traveling zoos of the era. His was the first Italian circus to introduce in its menagerie African elephants, giraffes, a rhino, an orangutan, and, as a star attraction, a couple of gorillas. &lt;br /&gt;
&lt;br /&gt;
Beside the horses, the stables included zebras, camels, and all sorts of exotic animals, and the cage wagons housed cats of every kind, monkeys, and even a host of colorful tropical birds. These animals were taken care of by fine animal trainers, with such famous names as Houcke, McManus, Smith, and Beautour, followed in time by some of Leonida’s sons. Davio (b.1956) became an elephant specialist, and Heros (b.1949) an expert equestrian&amp;amp;mdash;while Elio (b.1952) took care of the circus administration and performances, and their sisters Ghisi (b.1944), Jose (1947-1997), and Liviana (b.1960), supervised the different departments of the circus. &lt;br /&gt;
&lt;br /&gt;
They all were performers, too, who participated in various family acts (notably a beautiful high school ensemble), and they were surrounded by some of the greatest acts of the period. One of the trademarks of Medrano-Casartelli (as the circus would become known in the business) was the presentation of &amp;quot;exotic&amp;quot; troupes of performers&amp;amp;mdash;African dancers, Moroccan tumblers, teeterboard troupes from the Balkans&amp;amp;mdash;in the manner of the great German circuses ([[Circus Hagenbeck|Hagenbeck]], [[Circus Sarrasani|Sarrasani]]…) of pre-war Europe.&lt;br /&gt;
&lt;br /&gt;
===An Expanding Circus Empire===&lt;br /&gt;
&lt;br /&gt;
Leonida Casartelli died in 1978 in a car accident. The management of Circo Medrano was taken over by one of his nephews, Ugo De Rocchi, who expanded Medrano’s foreign tours, and emphasized the &amp;quot;grandeur&amp;quot; of the circus. For the 1980 winter season in Rome, Medrano set up an impressive display of three big tops and, in the menagerie tent, offered a shark fight&amp;amp;mdash,a first in Europe! The following winter, in Milan, [[The Knie Dynasty|Louis Knie, Jr.]] joined the company with his tigers and elephants; later, in the spring, 250,000 people visited the circus in Tel Aviv. The 1982 season even saw the circus in Vienna, in direct competition with the giant Circus Krone.  &lt;br /&gt;
&lt;br /&gt;
In 1987, Medrano-Casartelli did its first tour in France, where its impressive menagerie&amp;amp;mdash;the like of which had not been seen in that country for a long while&amp;amp;mdash;was a sensation. But in France, where the title ''Medrano'' was duly protected and was the exclusive property of the Medrano family, the Casartellis were forced to change the name of their circus, which disappeared from all the vehicles and other visible locations and was replaced by ''Circo Italiano''. The show, which included a water pantomime, was presented by the famous French ringmaster, [[Sergio]].&lt;br /&gt;
&lt;br /&gt;
In the winter of 1993, the circus stayed four months in Athens, Greece, presenting two different programs in succession. During the 1990s, a second Casartelli unit traveled with water spectaculars and circus ice shows throughout Europe. At the same time, the family interests were expanded with the purchase of some of Italy’s biggest zoos and theme parks. &lt;br /&gt;
&lt;br /&gt;
Meanwhile, the extended Casartelli family spread around the globe: [[David Larible]], the son of Lucina Casartelli, became a world-famous clown, and his sister, [[Vivien Larible|Vivien]], a successful trapeze artist; of Liliana’s sons (who had married Wioris Togni), Holer became one of Europe’s best car stuntmen, and Divier, a major sport arena entrepreneur; Steve and Ronni Bello, the sons of Jose (who had married the juggler Luciano Bello), starred in a remarkable risley act at [[Circus Roncalli]], and then in [[Cirque du Soleil]]’s ''Varekai''. In 1996 the family created an extraordinary, twenty-five-minute equestrian display called ''Festa del Cavallo'', in which a dozen family members combined pyramids on horseback, jockey act, high school, pas-de-deux and liberty presentations. It received a Gold Clown at the [[International Circus Festival of Monte Carlo]].&lt;br /&gt;
&lt;br /&gt;
===The Casartellis Today===&lt;br /&gt;
&lt;br /&gt;
After 2000, Ugo De Rocchi’s interests became concentrated on the family’s theme park business, and the control of the circus passed into the hands of Leonida’s three sons, Heros, Davio, and Elio. In 2007, the Casartelli family won for the second time a Gold Clown at the Monte Carlo festival, with a pas-de-deux on horseback, two equestrian displays, and ''Aladdin'', an &amp;quot;oriental&amp;quot; circus pantomime in the grand old classic manner, which included no less that fifty performers and assistants (mostly family members), with a cornucopia of animals, among which a group of African elephants, a kangaroo, and two giraffes.&lt;br /&gt;
&lt;br /&gt;
Circo Medrano spends basically the winter months in Italy with one or two units, and spends the rest of the year on tour abroad. Davio, who has created a spectacular act with an African elephant and two tigers, has toured with [[Circus Louis Knie]] in Austria and Germany, and with [[Cirque Arlette Gruss]] in France. Elio’s son, Brian (b.1977), took charge of the numerous exotic animals, and has produced an equestrian pas-de-deux with his sister Ingrid (b.1979), which includes Ingrid’s balancing on one foot on her brother’s head, while they are riding on horseback&amp;amp;mdash;a trick never seen before in the rich annals of the equestrian arts.&lt;br /&gt;
&lt;br /&gt;
For its 2011 season, Circo Medrano-Casartelli was able to advertise (and truly show) three Gold and five Silver Clown winners from the International Circus Festival of Monte-Carlo&amp;amp;mdash;a feat that illustrates well the exceptional quality of their circus productions. Since 1990, the Casartellis have performed in Austria, Spain, France, Turkey, Greece, Israel, Cyprus, Malta, Serbia, Croatia, Slovenia, Syria, Bulgaria, Romania, Hungary, and Czechoslovakia. They are indeed the greatest ambassadors of the grand Italian circus tradition.&lt;br /&gt;
&lt;br /&gt;
==Suggested Reading==&lt;br /&gt;
&lt;br /&gt;
* Alessandro Cervelatti, ''Questa Sera Grande Spettacolo'' (Milano, Edizione Avanti!, 1961) &lt;br /&gt;
* Enrico and Serena Bassano, ''Una donna, un circo: Rosina Casartelli'' (Genova, La Stampa, 1997)&lt;br /&gt;
* Alessandra Litta Modignani, Sandra Montovani, ''Il circo della memoria'' (Trento, Publistampa Edizioni, 2008) — ISBN 978-88-902506-7-5&lt;br /&gt;
* Raffaele de Ritis, ''Storia del Circo - degli acrobati egizi al Cirque du Soleil'' (Roma, Bulzoni Editore, 2008) — ISBN 978-88-7870-317-9&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Video: [[Eros_Casartelli_Video_(1987)|Eros Casartelli, mixed animal act]], at the International Circus Festival of Monte Carlo (1987)&lt;br /&gt;
&lt;br /&gt;
==Image Gallery==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;Gallery&amp;gt;&lt;br /&gt;
File:Orfei_Casartelli_Togni.jpg|Ferdinando Togni, Darix Togni, Leonida Casartelli and Nando Orfei (c.1970)&lt;br /&gt;
File:Medrano_Casartelli.jpg|Poster for Circo Medrano (1974)&lt;br /&gt;
File:Casartelli_Israel.jpg|Circo Medrano in Israel (1985)&lt;br /&gt;
File:Casartelli_France.jpg|Circo Casartelli in France (1997)&lt;br /&gt;
File:Circo_Casartelli_97.jpg|Circo Casartelli in France (1997)&lt;br /&gt;
File:Casartelli_Greece.jpg|Poster for Circo Medrano in Greece (2019)&lt;br /&gt;
File:Medrano-Casartelli_Firenze.jpg|Poster for Circo Medrano in Florence (2019)&lt;br /&gt;
&amp;lt;/Gallery&amp;gt;&lt;br /&gt;
&lt;br /&gt;
[[Category:History|Casartelli Family]][[Category:Circus Owners and Directors|Casartelli Family]][[Category:Animal Trainers|Casartelli Family]][[Category:Exotic Animals|Casartelli Family]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

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		<title>File:Medrano Casartelli.jpg</title>
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		<summary type="html">&lt;p&gt;DjandoAdmin: &lt;/p&gt;
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&lt;div&gt;Poster for Circo Medrano-Casartelli in Italy (1974) &amp;amp;mdash; ''Private Collection''&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Biography: [[The Casartelli Family]]&lt;br /&gt;
&lt;br /&gt;
[[Category:Art Gallery|Casartelli Circus]]&lt;/div&gt;</summary>
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		<summary type="html">&lt;p&gt;DjandoAdmin: Poster for Circo Medrano-Casartelli in Italy (1974) &amp;amp;mdash; ''Private Collection''&lt;/p&gt;
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&lt;div&gt;Poster for Circo Medrano-Casartelli in Italy (1974) &amp;amp;mdash; ''Private Collection''&lt;/div&gt;</summary>
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	<entry>
		<id>https://www.circopedia.org/index.php?title=The_Casartelli_Family&amp;diff=36494</id>
		<title>The Casartelli Family</title>
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		<summary type="html">&lt;p&gt;DjandoAdmin: /* Circo Medrano-Casartelli */&lt;/p&gt;
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&lt;div&gt;[[File:Circo_Casartelli_97.jpg|right|300px]]&lt;br /&gt;
''By Raffaele de Ritis''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Circo Medrano-Casartelli==&lt;br /&gt;
&lt;br /&gt;
The Casartelli family is one of Italy’s most prominent circus families; they are also well known in the Mediterranean countries, the Balkans, and even Israel, where they tour regularly&amp;amp;mdash;although the name Casartelli rarely appears on their circuses’ marquees. They have used different titles over the years, most famously ''Medrano''&amp;amp;mdash;a title they purchased from the [[The Swoboda Family|Swoboda]] family of Austria, and which had no connection (beside the use of its famous name) with the legendary [[Cirque Medrano (Paris)|Parisian circus]].  &lt;br /&gt;
&lt;br /&gt;
The Casartellis run perhaps the most widely traveled circus organization in activity, having visited no less than twenty countries, some regularly, over the past seventy years (as of 2020)&amp;amp;mdash;sometimes with up to three units touring simultaneously. They are also active in the safari and theme park business. In contrast to typical century-old Italian circus dynasties, the Casartelli family managed to become in just a few decades one of the largest circus families in Europe; it counts today about one hundred members. &lt;br /&gt;
&lt;br /&gt;
They have revived at its best the prewar tradition of the great European traveling circuses-and-menagerie, with a large family-based company surrounded by some of the best acts in business. As artists, especially equestrians and animal trainers, the Casartellis won two Gold Clowns at the [[International Circus Festival of Monte Carlo]] (in 1996 and 2007), and they have given six command performances for four different Popes at the Vatican.&lt;br /&gt;
&lt;br /&gt;
===Mamma Rosina and Circo Aurora===&lt;br /&gt;
&lt;br /&gt;
The first known Casartelli active in the circus was Giuseppe Casartelli, who performed in the 1850s&amp;amp;mdash;although not much is known of him. His sons, Pietro (1860-1922), who was known as a good hand-balancer, and Federico (?-?), an acrobat and clown, started the first Casartelli circus, with the help of their numerous offspring. As it was common in Italian circus families of the time, all of them were trained acrobats and equestrians (notably in bareback riders). When Pietro’s elder son, Umberto, better known as Romeo (1893-1933), died in 1933, the family split. &lt;br /&gt;
&lt;br /&gt;
Umberto’s wife, the courageous and strong-willed Rosina, née [[The Gerardi Fanily|Gerardi]] (1898-1974), went back on the road with her son Leonida (1924-1978) and her daughters Jonne (1919-1999), Liliana (1921-2004), and Lucina (1931- 2003). She became the matriarch of the Casartelli family, establishing through her progeny the basis of the Casartelli circus dynasty. With the three horses and a caravan she received after the family split, Rosina began to move slowly from the Italian northeast to the Piedmont region, hoping to rejoin her family’s Circo Gerardi. She set up a small traveling outdoor arena, offering equestrian and aerial performances with her children, while the audience sat on soapboxes. &lt;br /&gt;
&lt;br /&gt;
What was originally a survival move actually paid off: By 1936, Rosina’s show was known as the ''Arena Rosa''; by 1939, it was a full-fledged circus performing under a second-hand big top purchased from the [[The Togni Family|Togni]] circus. By 1941, her circus had become a legitimate and respectable enterprise, known as ''Circo Aurora''. During WWII, it played regularly the fairs of Tuscany, and Rosina combined her efforts in the winter with the Tognis, who ran what was by far at the time the most important circus in the country&amp;amp;mdash;and benefitted from the protection of the Fascist government. This association led to several Togni-Casartelli marriages, creating multiple ties between the two families.&lt;br /&gt;
&lt;br /&gt;
By the end of the war, Rosina’s sons and nephews had already produced dozens of new family members, and her son Leonida took over the reins of the ever-growing family circus. At the time, Italian circus tours centered on a calendar of seasonal fairs, of which one or more circuses were generally the main feature. It was established by the [[Ente Nazionale Circhi]] (the Italian circus proprietor’s association), which used for this purpose a specific ranking system.&lt;br /&gt;
&lt;br /&gt;
In 1949, three circuses were in the &amp;quot;first class&amp;quot; category: [[The Orfei Family|Orfei]], Togni, and [[The Jarz Family|Jarz]]. Leonida Casartelli’s Circo Aurora quickly reached the &amp;quot;second class,&amp;quot; along with [[The Zamperla|Zamperla]], [[Alberto Zoppé|Zoppé]], and [[The Cristiani Family|Cristiani]]. Being in a higher category meant an exclusive tour of the largest regional fairs of Italy, and consequently prosperous business. And business was booming: After having bought his first elephant, Leonida acquired in 1950 a group of lions trained by Amedeo Gerardi, which he presented himself.&lt;br /&gt;
&lt;br /&gt;
Under Leonida’s management, Circo Aurora regularly booked international acts, and it continued his association with the Togni family through the 1950s. In 1958, Circo Aurora caught the attention of Spanish impresario [[Osvaldo Silvestrini]], who regularly brought over foreign circuses in Cataluña&amp;amp;mdash;among which the Italian Togni, Jarz , and Cristiani circuses, and the French Beautour, Bostok-Robba, and [[The Bouglione Family|Bouglione]]. Circo Aurora’s success in Spain made it the first foreign company to expand its tour to other Spanish regions. &lt;br /&gt;
&lt;br /&gt;
===A Circus Of Many Names===&lt;br /&gt;
&lt;br /&gt;
In 1959 Leonida Casartelli’s circus, which was growing, changed its name to ''Circo Coliseum'' in order to return to Spanish towns that Circo Aurora had already visited the previous season. Circo Coliseum actually improved considerably on the original Aurora, traveling with the first tent equipped with a prototype of the &amp;quot;Italian&amp;quot; elongated cupola, and presenting a water pantomime. The show featured also some of the best Italian acrobats of the time, among whom the banquine act of the [[The Nicolodi Family|Nicolodis]], and the [[Duo Larible|Larible]] brothers’ Washington trapeze act. A group of liberty horses was also added, and the circus’s interior furnishings were improved&amp;amp;mdash;somehow influenced by the Spanish circus impresario [[Arturo Castilla]]’s decorative style. &lt;br /&gt;
&lt;br /&gt;
The Casartellis’ Spanish tour ended in 1960. Back in Italy, in the early 1960s, the circus’s name switched frequently from ''Coliseum'' to ''Kerr-Kroll'' and back. The latter title was designed to compete with that of [[Circus Krone]], the giant German circus, which often toured in Italy at the time. In April 1963, Leonida Casartelli took his circus into a sport arena in Istanbul, Turkey. Without informing the Casartellis, the local producer, Osman Kavran, advertised the circus as &amp;quot;MED.RA.N.O. presents Circo Casartelli&amp;quot;; the ambiguous acronym was meant to stand for ''MEDiterranean Radiotelevision And News Organization''. &lt;br /&gt;
&lt;br /&gt;
The Swoboda family, who had visited Turkey successfully before with their Austrian Circus Medrano, tried to have the use of that title, in whatever spelling, suppressed, but it was to no avail. Under the same banner, the Casartellis went afterward on a Turkish tour that extended to Sofia, in Bulgaria. When they returned to Italy (and subsequently visited other southern European countries) they adopted the title ''Circo di Barcelona'', and presented a lavish Spanish-style production, replete with a flamenco ballet company. In 1968 the circus visited Israel for the first time. &lt;br /&gt;
&lt;br /&gt;
In the following few years, they used a variety of names (sometimes for several units visiting different countries): ''Circo Nazionale Togni'', ''Circo di Francia'', ''Circo Tokio'', ''Magic Circus'', ''Circo di Israele'', and finally, in 1971, the Tognis’ ''Circo Heros'' title. However, by 1972, in spite of its numerous name changes, the Casartelli enterprise had become one of Italy’s largest circuses, and it was finding its own identity. The only major Italian circus not using railroad transportation, its logistics were smooth, and its productions were sumptuous, with danced introductions to the acts, a big orchestra, and elaborate scenery. And whereas Italian circuses flirted with water pantomimes, ice shows and three-ring hippodrome spectaculars, Casartelli prided itself on being the only major circus faithful to one-ring, classic format&amp;amp;mdash;&amp;quot;Il Circo al 100 per 100&amp;quot;, as it advertised itself. &lt;br /&gt;
&lt;br /&gt;
===Medrano &amp;amp;mdash; Il Circo Famoso Nel Mondo===&lt;br /&gt;
&lt;br /&gt;
Still, Leonida felt he still had to develop two important elements for his circus: a name with a strong popular appeal, and a big menagerie, as had become the norm in most major circuses in the northern part of Europe. The name ''Medrano'' had gained great popularity in Italy and in the Mediterranean countries. In these regions, the ''Medrano'' title was not connected to the celebrated Parisian circus, but to the circus founded in Austria in 1904 by [[Ludwig Swoboda]] (1881-1952), which was initially called [[Zirkus Lajos]] (''Lajos'' is the equivalent of ''Ludwig'' in Hungarian). &lt;br /&gt;
&lt;br /&gt;
In 1920, for a tour of Poland, where the name Lajos was sounding a little too Hungarian (and was thus politically incorrect), Swoboda changed his circus’s name, which became &amp;quot;Medrano from Wien&amp;quot;. The choice of ''Medrano'' had been obviously inspired to Ludwig Swoboda by the homonymous Parisian institution, then at the peak of its glory. ([[Jérôme Medrano]] repeatedly fought to prevent the illicit use of his name out of the French borders, but without success). &lt;br /&gt;
&lt;br /&gt;
And so, the Swobodas  toured extensively in Eastern Europe, the Balkans, and the Mediterranean countries&amp;amp;mdash;including Italy&amp;amp;mdash;under the title ''Medrano'' until the 1960s. After Ludwig’s death in 1952, the circus was managed by his daughters&amp;amp;mdash;three of whom, Therese, Anita and Wanda, had achieved considerable fame with their equestrian act, which they performed as the [[The Swoboda Family|Medrano Sisters]]. Circus Medrano-Swoboda (as it became known in the business to avoid confusion with its French counterpart) had eventually ceased its activities in 1969. &lt;br /&gt;
&lt;br /&gt;
Three of the Swoboda sisters, Therese, Anita and Helena (Hella), had married and settled in Italy, where they had rented the ''Medrano'' name to various Italian circuses. Therese had died in 1951, and Anita eventually left the circus; Hella, who had married Renato Medini, of the famous Italian circus family, eventually remained sole owner of the title. In 1972, ''Medrano'' seemed to Leonida Casartelli a perfect name for his circus: Casartelli exploited the same market as had the Swobodas, a market where the ''Medrano'' title had gained, over the years, prestige and recognition. He made a deal with Renato Medini, and legally purchased a name that belonged to the seller somewhat illegitimately. (Other abusive uses of the ''Medrano'' title would later appear in Europe.) &lt;br /&gt;
&lt;br /&gt;
The advertising of the new Circo Medrano announced &amp;quot;Medrano – Il Circo Famoso nel Mondo&amp;quot;, and introduced a series of colorful movie-style posters, designed by the painter Renato Casaro, which stressed Circo Medrano’s main feature: its vast animal collection. Leonida Casartelli had aggressively and quickly assembled one of the best traveling zoos of the era. His was the first Italian circus to introduce in its menagerie African elephants, giraffes, a rhino, an orangutan, and, as a star attraction, a couple of gorillas. &lt;br /&gt;
&lt;br /&gt;
Beside the horses, the stables included zebras, camels, and all sorts of exotic animals, and the cage wagons housed cats of every kind, monkeys, and even a host of colorful tropical birds. These animals were taken care of by fine animal trainers, with such famous names as Houcke, McManus, Smith, and Beautour, followed in time by some of Leonida’s sons. Davio (b.1956) became an elephant specialist, and Heros (b.1949) an expert equestrian&amp;amp;mdash;while Elio (b.1952) took care of the circus administration and performances, and their sisters Ghisi (b.1944), Jose (1947-1997), and Liviana (b.1960), supervised the different departments of the circus. &lt;br /&gt;
&lt;br /&gt;
They all were performers, too, who participated in various family acts (notably a beautiful high school ensemble), and they were surrounded by some of the greatest acts of the period. One of the trademarks of Medrano-Casartelli (as the circus would become known in the business) was the presentation of &amp;quot;exotic&amp;quot; troupes of performers&amp;amp;mdash;African dancers, Moroccan tumblers, teeterboard troupes from the Balkans&amp;amp;mdash;in the manner of the great German circuses ([[Circus Hagenbeck|Hagenbeck]], [[Circus Sarrasani|Sarrasani]]…) of pre-war Europe.&lt;br /&gt;
&lt;br /&gt;
===An Expanding Circus Empire===&lt;br /&gt;
&lt;br /&gt;
Leonida Casartelli died in 1978 in a car accident. The management of Circo Medrano was taken over by one of his nephews, Ugo De Rocchi, who expanded Medrano’s foreign tours, and emphasized the &amp;quot;grandeur&amp;quot; of the circus. For the 1980 winter season in Rome, Medrano set up an impressive display of three big tops and, in the menagerie tent, offered a shark fight&amp;amp;mdash,a first in Europe! The following winter, in Milan, [[The Knie Dynasty|Louis Knie, Jr.]] joined the company with his tigers and elephants; later, in the spring, 250,000 people visited the circus in Tel Aviv. The 1982 season even saw the circus in Vienna, in direct competition with the giant Circus Krone.  &lt;br /&gt;
&lt;br /&gt;
In 1987, Medrano-Casartelli did its first tour in France, where its impressive menagerie&amp;amp;mdash;the like of which had not been seen in that country for a long while&amp;amp;mdash;was a sensation. But in France, where the title ''Medrano'' was duly protected and was the exclusive property of the Medrano family, the Casartellis were forced to change the name of their circus, which disappeared from all the vehicles and other visible locations and was replaced by ''Circo Italiano''. The show, which included a water pantomime, was presented by the famous French ringmaster, [[Sergio]].&lt;br /&gt;
&lt;br /&gt;
In the winter of 1993, the circus stayed four months in Athens, Greece, presenting two different programs in succession. During the 1990s, a second Casartelli unit traveled with water spectaculars and circus ice shows throughout Europe. At the same time, the family interests were expanded with the purchase of some of Italy’s biggest zoos and theme parks. &lt;br /&gt;
&lt;br /&gt;
Meanwhile, the extended Casartelli family spread around the globe: [[David Larible]], the son of Lucina Casartelli, became a world-famous clown, and his sister, [[Vivien Larible|Vivien]], a successful trapeze artist; of Liliana’s sons (who had married Wioris Togni), Holer became one of Europe’s best car stuntmen, and Divier, a major sport arena entrepreneur; Steve and Ronni Bello, the sons of Jose (who had married the juggler Luciano Bello), starred in a remarkable risley act at [[Circus Roncalli]], and then in [[Cirque du Soleil]]’s ''Varekai''. In 1996 the family created an extraordinary, twenty-five-minute equestrian display called ''Festa del Cavallo'', in which a dozen family members combined pyramids on horseback, jockey act, high school, pas-de-deux and liberty presentations. It received a Gold Clown at the [[International Circus Festival of Monte Carlo]].&lt;br /&gt;
&lt;br /&gt;
===The Casartellis Today===&lt;br /&gt;
&lt;br /&gt;
After 2000, Ugo De Rocchi’s interests became concentrated on the family’s theme park business, and the control of the circus passed into the hands of Leonida’s three sons, Heros, Davio, and Elio. In 2007, the Casartelli family won for the second time a Gold Clown at the Monte Carlo festival, with a pas-de-deux on horseback, two equestrian displays, and ''Aladdin'', an &amp;quot;oriental&amp;quot; circus pantomime in the grand old classic manner, which included no less that fifty performers and assistants (mostly family members), with a cornucopia of animals, among which a group of African elephants, a kangaroo, and two giraffes.&lt;br /&gt;
&lt;br /&gt;
Circo Medrano spends basically the winter months in Italy with one or two units, and spends the rest of the year on tour abroad. Davio, who has created a spectacular act with an African elephant and two tigers, has toured with [[Circus Louis Knie]] in Austria and Germany, and with [[Cirque Arlette Gruss]] in France. Elio’s son, Brian (b.1977), took charge of the numerous exotic animals, and has produced an equestrian pas-de-deux with his sister Ingrid (b.1979), which includes Ingrid’s balancing on one foot on her brother’s head, while they are riding on horseback&amp;amp;mdash;a trick never seen before in the rich annals of the equestrian arts.&lt;br /&gt;
&lt;br /&gt;
For its 2011 season, Circo Medrano-Casartelli was able to advertise (and truly show) three Gold and five Silver Clown winners from the International Circus Festival of Monte-Carlo&amp;amp;mdash;a feat that illustrates well the exceptional quality of their circus productions. Since 1990, the Casartellis have performed in Austria, Spain, France, Turkey, Greece, Israel, Cyprus, Malta, Serbia, Croatia, Slovenia, Syria, Bulgaria, Romania, Hungary, and Czechoslovakia. They are indeed the greatest ambassadors of the grand Italian circus tradition.&lt;br /&gt;
&lt;br /&gt;
==Suggested Reading==&lt;br /&gt;
&lt;br /&gt;
* Alessandro Cervelatti, ''Questa Sera Grande Spettacolo'' (Milano, Edizione Avanti!, 1961) &lt;br /&gt;
* Enrico and Serena Bassano, ''Una donna, un circo: Rosina Casartelli'' (Genova, La Stampa, 1997)&lt;br /&gt;
* Alessandra Litta Modignani, Sandra Montovani, ''Il circo della memoria'' (Trento, Publistampa Edizioni, 2008) — ISBN 978-88-902506-7-5&lt;br /&gt;
* Raffaele de Ritis, ''Storia del Circo - degli acrobati egizi al Cirque du Soleil'' (Roma, Bulzoni Editore, 2008) — ISBN 978-88-7870-317-9&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Video: [[Eros_Casartelli_Video_(1987)|Eros Casartelli, mixed animal act]], at the International Circus Festival of Monte Carlo (1987)&lt;br /&gt;
&lt;br /&gt;
==Image Gallery==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;Gallery&amp;gt;&lt;br /&gt;
File:Orfei_Casartelli_Togni.jpg|Ferdinando Togni, Darix Togni, Leonida Casartelli and Nando Orfei (c.1970)&lt;br /&gt;
File:Casartelli_Israel.jpg|Circo Medrano in Israel (1985)&lt;br /&gt;
File:Casartelli_France.jpg|Circo Casartelli in France (1997)&lt;br /&gt;
File:Circo_Casartelli_97.jpg|Circo Casartelli in France (1997)&lt;br /&gt;
File:Casartelli_Greece.jpg|Poster for Circo Medrano in Greece (2019)&lt;br /&gt;
File:Medrano-Casartelli_Firenze.jpg|Poster for Circo Medrano in Florence (2019)&lt;br /&gt;
&amp;lt;/Gallery&amp;gt;&lt;br /&gt;
&lt;br /&gt;
[[Category:History|Casartelli Family]][[Category:Circus Owners and Directors|Casartelli Family]][[Category:Animal Trainers|Casartelli Family]][[Category:Exotic Animals|Casartelli Family]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=The_Casartelli_Family&amp;diff=36493</id>
		<title>The Casartelli Family</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=The_Casartelli_Family&amp;diff=36493"/>
				<updated>2021-08-24T20:03:10Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: &lt;/p&gt;
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&lt;div&gt;[[File:Circo_Casartelli_97.jpg|right|300px]]&lt;br /&gt;
''By Raffaele de Ritis''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Circo Medrano-Casartelli==&lt;br /&gt;
&lt;br /&gt;
The Casartelli family is one of Italy’s most prominent circus families; they are also well known in the Mediterranean countries, the Balkans, and even Israel, where they tour regularly&amp;amp;mdash;although the name Casartelli rarely appears on their circuses’ marquees. They have used different titles over the years, most famously ''Medrano''&amp;amp;mdash;a title they purchased from the [[The Swoboda Family|Swoboda]] family of Austria, and which had no connection (beside the use of its famous name) with the legendary [[Cirque Medrano (Paris)|Parisian circus]].  &lt;br /&gt;
&lt;br /&gt;
The Casartellis run perhaps the most widely traveled circus organization in activity, having visited no less than twenty countries, some regularly, over the past seventy years (as of 2020)&amp;amp;mdash;sometimes with up to three units touring simultaneously. They are also active in the safari and theme park business. In contrast with typical century-old Italian circus dynasties, the Casartelli family managed to become in just a few decades one of the largest circus families in Europe; it counts today about one hundred members. &lt;br /&gt;
&lt;br /&gt;
They have revived at its best the prewar tradition of the great European traveling circuses-and-menagerie, with a large family-based company surrounded by some of the best acts in business. As artists, especially equestrians and animal trainers, the Casartellis won two Gold Clowns at the [[International Circus Festival of Monte Carlo]] (in 1996 and 2007), and they have given six command performances for four different Popes at the Vatican.&lt;br /&gt;
&lt;br /&gt;
===Mamma Rosina and Circo Aurora===&lt;br /&gt;
&lt;br /&gt;
The first known Casartelli active in the circus was Giuseppe Casartelli, who performed in the 1850s&amp;amp;mdash;although not much is known of him. His sons, Pietro (1860-1922), who was known as a good hand-balancer, and Federico (?-?), an acrobat and clown, started the first Casartelli circus, with the help of their numerous offspring. As it was common in Italian circus families of the time, all of them were trained acrobats and equestrians (notably in bareback riders). When Pietro’s elder son, Umberto, better known as Romeo (1893-1933), died in 1933, the family split. &lt;br /&gt;
&lt;br /&gt;
Umberto’s wife, the courageous and strong-willed Rosina, née [[The Gerardi Fanily|Gerardi]] (1898-1974), went back on the road with her son Leonida (1924-1978) and her daughters Jonne (1919-1999), Liliana (1921-2004), and Lucina (1931- 2003). She became the matriarch of the Casartelli family, establishing through her progeny the basis of the Casartelli circus dynasty. With the three horses and a caravan she received after the family split, Rosina began to move slowly from the Italian northeast to the Piedmont region, hoping to rejoin her family’s Circo Gerardi. She set up a small traveling outdoor arena, offering equestrian and aerial performances with her children, while the audience sat on soapboxes. &lt;br /&gt;
&lt;br /&gt;
What was originally a survival move actually paid off: By 1936, Rosina’s show was known as the ''Arena Rosa''; by 1939, it was a full-fledged circus performing under a second-hand big top purchased from the [[The Togni Family|Togni]] circus. By 1941, her circus had become a legitimate and respectable enterprise, known as ''Circo Aurora''. During WWII, it played regularly the fairs of Tuscany, and Rosina combined her efforts in the winter with the Tognis, who ran what was by far at the time the most important circus in the country&amp;amp;mdash;and benefitted from the protection of the Fascist government. This association led to several Togni-Casartelli marriages, creating multiple ties between the two families.&lt;br /&gt;
&lt;br /&gt;
By the end of the war, Rosina’s sons and nephews had already produced dozens of new family members, and her son Leonida took over the reins of the ever-growing family circus. At the time, Italian circus tours centered on a calendar of seasonal fairs, of which one or more circuses were generally the main feature. It was established by the [[Ente Nazionale Circhi]] (the Italian circus proprietor’s association), which used for this purpose a specific ranking system.&lt;br /&gt;
&lt;br /&gt;
In 1949, three circuses were in the &amp;quot;first class&amp;quot; category: [[The Orfei Family|Orfei]], Togni, and [[The Jarz Family|Jarz]]. Leonida Casartelli’s Circo Aurora quickly reached the &amp;quot;second class,&amp;quot; along with [[The Zamperla|Zamperla]], [[Alberto Zoppé|Zoppé]], and [[The Cristiani Family|Cristiani]]. Being in a higher category meant an exclusive tour of the largest regional fairs of Italy, and consequently prosperous business. And business was booming: After having bought his first elephant, Leonida acquired in 1950 a group of lions trained by Amedeo Gerardi, which he presented himself.&lt;br /&gt;
&lt;br /&gt;
Under Leonida’s management, Circo Aurora regularly booked international acts, and it continued his association with the Togni family through the 1950s. In 1958, Circo Aurora caught the attention of Spanish impresario [[Osvaldo Silvestrini]], who regularly brought over foreign circuses in Cataluña&amp;amp;mdash;among which the Italian Togni, Jarz , and Cristiani circuses, and the French Beautour, Bostok-Robba, and [[The Bouglione Family|Bouglione]]. Circo Aurora’s success in Spain made it the first foreign company to expand its tour to other Spanish regions. &lt;br /&gt;
&lt;br /&gt;
===A Circus Of Many Names===&lt;br /&gt;
&lt;br /&gt;
In 1959 Leonida Casartelli’s circus, which was growing, changed its name to ''Circo Coliseum'' in order to return to Spanish towns that Circo Aurora had already visited the previous season. Circo Coliseum actually improved considerably on the original Aurora, traveling with the first tent equipped with a prototype of the &amp;quot;Italian&amp;quot; elongated cupola, and presenting a water pantomime. The show featured also some of the best Italian acrobats of the time, among whom the banquine act of the [[The Nicolodi Family|Nicolodis]], and the [[Duo Larible|Larible]] brothers’ Washington trapeze act. A group of liberty horses was also added, and the circus’s interior furnishings were improved&amp;amp;mdash;somehow influenced by the Spanish circus impresario [[Arturo Castilla]]’s decorative style. &lt;br /&gt;
&lt;br /&gt;
The Casartellis’ Spanish tour ended in 1960. Back in Italy, in the early 1960s, the circus’s name switched frequently from ''Coliseum'' to ''Kerr-Kroll'' and back. The latter title was designed to compete with that of [[Circus Krone]], the giant German circus, which often toured in Italy at the time. In April 1963, Leonida Casartelli took his circus into a sport arena in Istanbul, Turkey. Without informing the Casartellis, the local producer, Osman Kavran, advertised the circus as &amp;quot;MED.RA.N.O. presents Circo Casartelli&amp;quot;; the ambiguous acronym was meant to stand for ''MEDiterranean Radiotelevision And News Organization''. &lt;br /&gt;
&lt;br /&gt;
The Swoboda family, who had visited Turkey successfully before with their Austrian Circus Medrano, tried to have the use of that title, in whatever spelling, suppressed, but it was to no avail. Under the same banner, the Casartellis went afterward on a Turkish tour that extended to Sofia, in Bulgaria. When they returned to Italy (and subsequently visited other southern European countries) they adopted the title ''Circo di Barcelona'', and presented a lavish Spanish-style production, replete with a flamenco ballet company. In 1968 the circus visited Israel for the first time. &lt;br /&gt;
&lt;br /&gt;
In the following few years, they used a variety of names (sometimes for several units visiting different countries): ''Circo Nazionale Togni'', ''Circo di Francia'', ''Circo Tokio'', ''Magic Circus'', ''Circo di Israele'', and finally, in 1971, the Tognis’ ''Circo Heros'' title. However, by 1972, in spite of its numerous name changes, the Casartelli enterprise had become one of Italy’s largest circuses, and it was finding its own identity. The only major Italian circus not using railroad transportation, its logistics were smooth, and its productions were sumptuous, with danced introductions to the acts, a big orchestra, and elaborate scenery. And whereas Italian circuses flirted with water pantomimes, ice shows and three-ring hippodrome spectaculars, Casartelli prided itself on being the only major circus faithful to one-ring, classic format&amp;amp;mdash;&amp;quot;Il Circo al 100 per 100&amp;quot;, as it advertised itself. &lt;br /&gt;
&lt;br /&gt;
===Medrano &amp;amp;mdash; Il Circo Famoso Nel Mondo===&lt;br /&gt;
&lt;br /&gt;
Still, Leonida felt he still had to develop two important elements for his circus: a name with a strong popular appeal, and a big menagerie, as had become the norm in most major circuses in the northern part of Europe. The name ''Medrano'' had gained great popularity in Italy and in the Mediterranean countries. In these regions, the ''Medrano'' title was not connected to the celebrated Parisian circus, but to the circus founded in Austria in 1904 by [[Ludwig Swoboda]] (1881-1952), which was initially called [[Zirkus Lajos]] (''Lajos'' is the equivalent of ''Ludwig'' in Hungarian). &lt;br /&gt;
&lt;br /&gt;
In 1920, for a tour of Poland, where the name Lajos was sounding a little too Hungarian (and was thus politically incorrect), Swoboda changed his circus’s name, which became &amp;quot;Medrano from Wien&amp;quot;. The choice of ''Medrano'' had been obviously inspired to Ludwig Swoboda by the homonymous Parisian institution, then at the peak of its glory. ([[Jérôme Medrano]] repeatedly fought to prevent the illicit use of his name out of the French borders, but without success). &lt;br /&gt;
&lt;br /&gt;
And so, the Swobodas  toured extensively in Eastern Europe, the Balkans, and the Mediterranean countries&amp;amp;mdash;including Italy&amp;amp;mdash;under the title ''Medrano'' until the 1960s. After Ludwig’s death in 1952, the circus was managed by his daughters&amp;amp;mdash;three of whom, Therese, Anita and Wanda, had achieved considerable fame with their equestrian act, which they performed as the [[The Swoboda Family|Medrano Sisters]]. Circus Medrano-Swoboda (as it became known in the business to avoid confusion with its French counterpart) had eventually ceased its activities in 1969. &lt;br /&gt;
&lt;br /&gt;
Three of the Swoboda sisters, Therese, Anita and Helena (Hella), had married and settled in Italy, where they had rented the ''Medrano'' name to various Italian circuses. Therese had died in 1951, and Anita eventually left the circus; Hella, who had married Renato Medini, of the famous Italian circus family, eventually remained sole owner of the title. In 1972, ''Medrano'' seemed to Leonida Casartelli a perfect name for his circus: Casartelli exploited the same market as had the Swobodas, a market where the ''Medrano'' title had gained, over the years, prestige and recognition. He made a deal with Renato Medini, and legally purchased a name that belonged to the seller somewhat illegitimately. (Other abusive uses of the ''Medrano'' title would later appear in Europe.) &lt;br /&gt;
&lt;br /&gt;
The advertising of the new Circo Medrano announced &amp;quot;Medrano – Il Circo Famoso nel Mondo&amp;quot;, and introduced a series of colorful movie-style posters, designed by the painter Renato Casaro, which stressed Circo Medrano’s main feature: its vast animal collection. Leonida Casartelli had aggressively and quickly assembled one of the best traveling zoos of the era. His was the first Italian circus to introduce in its menagerie African elephants, giraffes, a rhino, an orangutan, and, as a star attraction, a couple of gorillas. &lt;br /&gt;
&lt;br /&gt;
Beside the horses, the stables included zebras, camels, and all sorts of exotic animals, and the cage wagons housed cats of every kind, monkeys, and even a host of colorful tropical birds. These animals were taken care of by fine animal trainers, with such famous names as Houcke, McManus, Smith, and Beautour, followed in time by some of Leonida’s sons. Davio (b.1956) became an elephant specialist, and Heros (b.1949) an expert equestrian&amp;amp;mdash;while Elio (b.1952) took care of the circus administration and performances, and their sisters Ghisi (b.1944), Jose (1947-1997), and Liviana (b.1960), supervised the different departments of the circus. &lt;br /&gt;
&lt;br /&gt;
They all were performers, too, who participated in various family acts (notably a beautiful high school ensemble), and they were surrounded by some of the greatest acts of the period. One of the trademarks of Medrano-Casartelli (as the circus would become known in the business) was the presentation of &amp;quot;exotic&amp;quot; troupes of performers&amp;amp;mdash;African dancers, Moroccan tumblers, teeterboard troupes from the Balkans&amp;amp;mdash;in the manner of the great German circuses ([[Circus Hagenbeck|Hagenbeck]], [[Circus Sarrasani|Sarrasani]]…) of pre-war Europe.&lt;br /&gt;
&lt;br /&gt;
===An Expanding Circus Empire===&lt;br /&gt;
&lt;br /&gt;
Leonida Casartelli died in 1978 in a car accident. The management of Circo Medrano was taken over by one of his nephews, Ugo De Rocchi, who expanded Medrano’s foreign tours, and emphasized the &amp;quot;grandeur&amp;quot; of the circus. For the 1980 winter season in Rome, Medrano set up an impressive display of three big tops and, in the menagerie tent, offered a shark fight&amp;amp;mdash,a first in Europe! The following winter, in Milan, [[The Knie Dynasty|Louis Knie, Jr.]] joined the company with his tigers and elephants; later, in the spring, 250,000 people visited the circus in Tel Aviv. The 1982 season even saw the circus in Vienna, in direct competition with the giant Circus Krone.  &lt;br /&gt;
&lt;br /&gt;
In 1987, Medrano-Casartelli did its first tour in France, where its impressive menagerie&amp;amp;mdash;the like of which had not been seen in that country for a long while&amp;amp;mdash;was a sensation. But in France, where the title ''Medrano'' was duly protected and was the exclusive property of the Medrano family, the Casartellis were forced to change the name of their circus, which disappeared from all the vehicles and other visible locations and was replaced by ''Circo Italiano''. The show, which included a water pantomime, was presented by the famous French ringmaster, [[Sergio]].&lt;br /&gt;
&lt;br /&gt;
In the winter of 1993, the circus stayed four months in Athens, Greece, presenting two different programs in succession. During the 1990s, a second Casartelli unit traveled with water spectaculars and circus ice shows throughout Europe. At the same time, the family interests were expanded with the purchase of some of Italy’s biggest zoos and theme parks. &lt;br /&gt;
&lt;br /&gt;
Meanwhile, the extended Casartelli family spread around the globe: [[David Larible]], the son of Lucina Casartelli, became a world-famous clown, and his sister, [[Vivien Larible|Vivien]], a successful trapeze artist; of Liliana’s sons (who had married Wioris Togni), Holer became one of Europe’s best car stuntmen, and Divier, a major sport arena entrepreneur; Steve and Ronni Bello, the sons of Jose (who had married the juggler Luciano Bello), starred in a remarkable risley act at [[Circus Roncalli]], and then in [[Cirque du Soleil]]’s ''Varekai''. In 1996 the family created an extraordinary, twenty-five-minute equestrian display called ''Festa del Cavallo'', in which a dozen family members combined pyramids on horseback, jockey act, high school, pas-de-deux and liberty presentations. It received a Gold Clown at the [[International Circus Festival of Monte Carlo]].&lt;br /&gt;
&lt;br /&gt;
===The Casartellis Today===&lt;br /&gt;
&lt;br /&gt;
After 2000, Ugo De Rocchi’s interests became concentrated on the family’s theme park business, and the control of the circus passed into the hands of Leonida’s three sons, Heros, Davio, and Elio. In 2007, the Casartelli family won for the second time a Gold Clown at the Monte Carlo festival, with a pas-de-deux on horseback, two equestrian displays, and ''Aladdin'', an &amp;quot;oriental&amp;quot; circus pantomime in the grand old classic manner, which included no less that fifty performers and assistants (mostly family members), with a cornucopia of animals, among which a group of African elephants, a kangaroo, and two giraffes.&lt;br /&gt;
&lt;br /&gt;
Circo Medrano spends basically the winter months in Italy with one or two units, and spends the rest of the year on tour abroad. Davio, who has created a spectacular act with an African elephant and two tigers, has toured with [[Circus Louis Knie]] in Austria and Germany, and with [[Cirque Arlette Gruss]] in France. Elio’s son, Brian (b.1977), took charge of the numerous exotic animals, and has produced an equestrian pas-de-deux with his sister Ingrid (b.1979), which includes Ingrid’s balancing on one foot on her brother’s head, while they are riding on horseback&amp;amp;mdash;a trick never seen before in the rich annals of the equestrian arts.&lt;br /&gt;
&lt;br /&gt;
For its 2011 season, Circo Medrano-Casartelli was able to advertise (and truly show) three Gold and five Silver Clown winners from the International Circus Festival of Monte-Carlo&amp;amp;mdash;a feat that illustrates well the exceptional quality of their circus productions. Since 1990, the Casartellis have performed in Austria, Spain, France, Turkey, Greece, Israel, Cyprus, Malta, Serbia, Croatia, Slovenia, Syria, Bulgaria, Romania, Hungary, and Czechoslovakia. They are indeed the greatest ambassadors of the grand Italian circus tradition.&lt;br /&gt;
&lt;br /&gt;
==Suggested Reading==&lt;br /&gt;
&lt;br /&gt;
* Alessandro Cervelatti, ''Questa Sera Grande Spettacolo'' (Milano, Edizione Avanti!, 1961) &lt;br /&gt;
* Enrico and Serena Bassano, ''Una donna, un circo: Rosina Casartelli'' (Genova, La Stampa, 1997)&lt;br /&gt;
* Alessandra Litta Modignani, Sandra Montovani, ''Il circo della memoria'' (Trento, Publistampa Edizioni, 2008) — ISBN 978-88-902506-7-5&lt;br /&gt;
* Raffaele de Ritis, ''Storia del Circo - degli acrobati egizi al Cirque du Soleil'' (Roma, Bulzoni Editore, 2008) — ISBN 978-88-7870-317-9&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Video: [[Eros_Casartelli_Video_(1987)|Eros Casartelli, mixed animal act]], at the International Circus Festival of Monte Carlo (1987)&lt;br /&gt;
&lt;br /&gt;
==Image Gallery==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;Gallery&amp;gt;&lt;br /&gt;
File:Orfei_Casartelli_Togni.jpg|Ferdinando Togni, Darix Togni, Leonida Casartelli and Nando Orfei (c.1970)&lt;br /&gt;
File:Casartelli_Israel.jpg|Circo Medrano in Israel (1985)&lt;br /&gt;
File:Casartelli_France.jpg|Circo Casartelli in France (1997)&lt;br /&gt;
File:Circo_Casartelli_97.jpg|Circo Casartelli in France (1997)&lt;br /&gt;
File:Casartelli_Greece.jpg|Poster for Circo Medrano in Greece (2019)&lt;br /&gt;
File:Medrano-Casartelli_Firenze.jpg|Poster for Circo Medrano in Florence (2019)&lt;br /&gt;
&amp;lt;/Gallery&amp;gt;&lt;br /&gt;
&lt;br /&gt;
[[Category:History|Casartelli Family]][[Category:Circus Owners and Directors|Casartelli Family]][[Category:Animal Trainers|Casartelli Family]][[Category:Exotic Animals|Casartelli Family]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=The_Casartelli_Family&amp;diff=36492</id>
		<title>The Casartelli Family</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=The_Casartelli_Family&amp;diff=36492"/>
				<updated>2021-08-24T20:02:22Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: /* Image Gallery */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;''By Raffaele de Ritis''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Circo Medrano-Casartelli==&lt;br /&gt;
&lt;br /&gt;
The Casartelli family is one of Italy’s most prominent circus families; they are also well known in the Mediterranean countries, the Balkans, and even Israel, where they tour regularly&amp;amp;mdash;although the name Casartelli rarely appears on their circuses’ marquees. They have used different titles over the years, most famously ''Medrano''&amp;amp;mdash;a title they purchased from the [[The Swoboda Family|Swoboda]] family of Austria, and which had no connection (beside the use of its famous name) with the legendary [[Cirque Medrano (Paris)|Parisian circus]].  &lt;br /&gt;
&lt;br /&gt;
The Casartellis run perhaps the most widely traveled circus organization in activity, having visited no less than twenty countries, some regularly, over the past seventy years (as of 2020)&amp;amp;mdash;sometimes with up to three units touring simultaneously. They are also active in the safari and theme park business. In contrast with typical century-old Italian circus dynasties, the Casartelli family managed to become in just a few decades one of the largest circus families in Europe; it counts today about one hundred members. &lt;br /&gt;
&lt;br /&gt;
They have revived at its best the prewar tradition of the great European traveling circuses-and-menagerie, with a large family-based company surrounded by some of the best acts in business. As artists, especially equestrians and animal trainers, the Casartellis won two Gold Clowns at the [[International Circus Festival of Monte Carlo]] (in 1996 and 2007), and they have given six command performances for four different Popes at the Vatican.&lt;br /&gt;
&lt;br /&gt;
===Mamma Rosina and Circo Aurora===&lt;br /&gt;
&lt;br /&gt;
The first known Casartelli active in the circus was Giuseppe Casartelli, who performed in the 1850s&amp;amp;mdash;although not much is known of him. His sons, Pietro (1860-1922), who was known as a good hand-balancer, and Federico (?-?), an acrobat and clown, started the first Casartelli circus, with the help of their numerous offspring. As it was common in Italian circus families of the time, all of them were trained acrobats and equestrians (notably in bareback riders). When Pietro’s elder son, Umberto, better known as Romeo (1893-1933), died in 1933, the family split. &lt;br /&gt;
&lt;br /&gt;
Umberto’s wife, the courageous and strong-willed Rosina, née [[The Gerardi Fanily|Gerardi]] (1898-1974), went back on the road with her son Leonida (1924-1978) and her daughters Jonne (1919-1999), Liliana (1921-2004), and Lucina (1931- 2003). She became the matriarch of the Casartelli family, establishing through her progeny the basis of the Casartelli circus dynasty. With the three horses and a caravan she received after the family split, Rosina began to move slowly from the Italian northeast to the Piedmont region, hoping to rejoin her family’s Circo Gerardi. She set up a small traveling outdoor arena, offering equestrian and aerial performances with her children, while the audience sat on soapboxes. &lt;br /&gt;
&lt;br /&gt;
What was originally a survival move actually paid off: By 1936, Rosina’s show was known as the ''Arena Rosa''; by 1939, it was a full-fledged circus performing under a second-hand big top purchased from the [[The Togni Family|Togni]] circus. By 1941, her circus had become a legitimate and respectable enterprise, known as ''Circo Aurora''. During WWII, it played regularly the fairs of Tuscany, and Rosina combined her efforts in the winter with the Tognis, who ran what was by far at the time the most important circus in the country&amp;amp;mdash;and benefitted from the protection of the Fascist government. This association led to several Togni-Casartelli marriages, creating multiple ties between the two families.&lt;br /&gt;
&lt;br /&gt;
By the end of the war, Rosina’s sons and nephews had already produced dozens of new family members, and her son Leonida took over the reins of the ever-growing family circus. At the time, Italian circus tours centered on a calendar of seasonal fairs, of which one or more circuses were generally the main feature. It was established by the [[Ente Nazionale Circhi]] (the Italian circus proprietor’s association), which used for this purpose a specific ranking system.&lt;br /&gt;
&lt;br /&gt;
In 1949, three circuses were in the &amp;quot;first class&amp;quot; category: [[The Orfei Family|Orfei]], Togni, and [[The Jarz Family|Jarz]]. Leonida Casartelli’s Circo Aurora quickly reached the &amp;quot;second class,&amp;quot; along with [[The Zamperla|Zamperla]], [[Alberto Zoppé|Zoppé]], and [[The Cristiani Family|Cristiani]]. Being in a higher category meant an exclusive tour of the largest regional fairs of Italy, and consequently prosperous business. And business was booming: After having bought his first elephant, Leonida acquired in 1950 a group of lions trained by Amedeo Gerardi, which he presented himself.&lt;br /&gt;
&lt;br /&gt;
Under Leonida’s management, Circo Aurora regularly booked international acts, and it continued his association with the Togni family through the 1950s. In 1958, Circo Aurora caught the attention of Spanish impresario [[Osvaldo Silvestrini]], who regularly brought over foreign circuses in Cataluña&amp;amp;mdash;among which the Italian Togni, Jarz , and Cristiani circuses, and the French Beautour, Bostok-Robba, and [[The Bouglione Family|Bouglione]]. Circo Aurora’s success in Spain made it the first foreign company to expand its tour to other Spanish regions. &lt;br /&gt;
&lt;br /&gt;
===A Circus Of Many Names===&lt;br /&gt;
&lt;br /&gt;
In 1959 Leonida Casartelli’s circus, which was growing, changed its name to ''Circo Coliseum'' in order to return to Spanish towns that Circo Aurora had already visited the previous season. Circo Coliseum actually improved considerably on the original Aurora, traveling with the first tent equipped with a prototype of the &amp;quot;Italian&amp;quot; elongated cupola, and presenting a water pantomime. The show featured also some of the best Italian acrobats of the time, among whom the banquine act of the [[The Nicolodi Family|Nicolodis]], and the [[Duo Larible|Larible]] brothers’ Washington trapeze act. A group of liberty horses was also added, and the circus’s interior furnishings were improved&amp;amp;mdash;somehow influenced by the Spanish circus impresario [[Arturo Castilla]]’s decorative style. &lt;br /&gt;
&lt;br /&gt;
The Casartellis’ Spanish tour ended in 1960. Back in Italy, in the early 1960s, the circus’s name switched frequently from ''Coliseum'' to ''Kerr-Kroll'' and back. The latter title was designed to compete with that of [[Circus Krone]], the giant German circus, which often toured in Italy at the time. In April 1963, Leonida Casartelli took his circus into a sport arena in Istanbul, Turkey. Without informing the Casartellis, the local producer, Osman Kavran, advertised the circus as &amp;quot;MED.RA.N.O. presents Circo Casartelli&amp;quot;; the ambiguous acronym was meant to stand for ''MEDiterranean Radiotelevision And News Organization''. &lt;br /&gt;
&lt;br /&gt;
The Swoboda family, who had visited Turkey successfully before with their Austrian Circus Medrano, tried to have the use of that title, in whatever spelling, suppressed, but it was to no avail. Under the same banner, the Casartellis went afterward on a Turkish tour that extended to Sofia, in Bulgaria. When they returned to Italy (and subsequently visited other southern European countries) they adopted the title ''Circo di Barcelona'', and presented a lavish Spanish-style production, replete with a flamenco ballet company. In 1968 the circus visited Israel for the first time. &lt;br /&gt;
&lt;br /&gt;
In the following few years, they used a variety of names (sometimes for several units visiting different countries): ''Circo Nazionale Togni'', ''Circo di Francia'', ''Circo Tokio'', ''Magic Circus'', ''Circo di Israele'', and finally, in 1971, the Tognis’ ''Circo Heros'' title. However, by 1972, in spite of its numerous name changes, the Casartelli enterprise had become one of Italy’s largest circuses, and it was finding its own identity. The only major Italian circus not using railroad transportation, its logistics were smooth, and its productions were sumptuous, with danced introductions to the acts, a big orchestra, and elaborate scenery. And whereas Italian circuses flirted with water pantomimes, ice shows and three-ring hippodrome spectaculars, Casartelli prided itself on being the only major circus faithful to one-ring, classic format&amp;amp;mdash;&amp;quot;Il Circo al 100 per 100&amp;quot;, as it advertised itself. &lt;br /&gt;
&lt;br /&gt;
===Medrano &amp;amp;mdash; Il Circo Famoso Nel Mondo===&lt;br /&gt;
&lt;br /&gt;
Still, Leonida felt he still had to develop two important elements for his circus: a name with a strong popular appeal, and a big menagerie, as had become the norm in most major circuses in the northern part of Europe. The name ''Medrano'' had gained great popularity in Italy and in the Mediterranean countries. In these regions, the ''Medrano'' title was not connected to the celebrated Parisian circus, but to the circus founded in Austria in 1904 by [[Ludwig Swoboda]] (1881-1952), which was initially called [[Zirkus Lajos]] (''Lajos'' is the equivalent of ''Ludwig'' in Hungarian). &lt;br /&gt;
&lt;br /&gt;
In 1920, for a tour of Poland, where the name Lajos was sounding a little too Hungarian (and was thus politically incorrect), Swoboda changed his circus’s name, which became &amp;quot;Medrano from Wien&amp;quot;. The choice of ''Medrano'' had been obviously inspired to Ludwig Swoboda by the homonymous Parisian institution, then at the peak of its glory. ([[Jérôme Medrano]] repeatedly fought to prevent the illicit use of his name out of the French borders, but without success). &lt;br /&gt;
&lt;br /&gt;
And so, the Swobodas  toured extensively in Eastern Europe, the Balkans, and the Mediterranean countries&amp;amp;mdash;including Italy&amp;amp;mdash;under the title ''Medrano'' until the 1960s. After Ludwig’s death in 1952, the circus was managed by his daughters&amp;amp;mdash;three of whom, Therese, Anita and Wanda, had achieved considerable fame with their equestrian act, which they performed as the [[The Swoboda Family|Medrano Sisters]]. Circus Medrano-Swoboda (as it became known in the business to avoid confusion with its French counterpart) had eventually ceased its activities in 1969. &lt;br /&gt;
&lt;br /&gt;
Three of the Swoboda sisters, Therese, Anita and Helena (Hella), had married and settled in Italy, where they had rented the ''Medrano'' name to various Italian circuses. Therese had died in 1951, and Anita eventually left the circus; Hella, who had married Renato Medini, of the famous Italian circus family, eventually remained sole owner of the title. In 1972, ''Medrano'' seemed to Leonida Casartelli a perfect name for his circus: Casartelli exploited the same market as had the Swobodas, a market where the ''Medrano'' title had gained, over the years, prestige and recognition. He made a deal with Renato Medini, and legally purchased a name that belonged to the seller somewhat illegitimately. (Other abusive uses of the ''Medrano'' title would later appear in Europe.) &lt;br /&gt;
&lt;br /&gt;
The advertising of the new Circo Medrano announced &amp;quot;Medrano – Il Circo Famoso nel Mondo&amp;quot;, and introduced a series of colorful movie-style posters, designed by the painter Renato Casaro, which stressed Circo Medrano’s main feature: its vast animal collection. Leonida Casartelli had aggressively and quickly assembled one of the best traveling zoos of the era. His was the first Italian circus to introduce in its menagerie African elephants, giraffes, a rhino, an orangutan, and, as a star attraction, a couple of gorillas. &lt;br /&gt;
&lt;br /&gt;
Beside the horses, the stables included zebras, camels, and all sorts of exotic animals, and the cage wagons housed cats of every kind, monkeys, and even a host of colorful tropical birds. These animals were taken care of by fine animal trainers, with such famous names as Houcke, McManus, Smith, and Beautour, followed in time by some of Leonida’s sons. Davio (b.1956) became an elephant specialist, and Heros (b.1949) an expert equestrian&amp;amp;mdash;while Elio (b.1952) took care of the circus administration and performances, and their sisters Ghisi (b.1944), Jose (1947-1997), and Liviana (b.1960), supervised the different departments of the circus. &lt;br /&gt;
&lt;br /&gt;
They all were performers, too, who participated in various family acts (notably a beautiful high school ensemble), and they were surrounded by some of the greatest acts of the period. One of the trademarks of Medrano-Casartelli (as the circus would become known in the business) was the presentation of &amp;quot;exotic&amp;quot; troupes of performers&amp;amp;mdash;African dancers, Moroccan tumblers, teeterboard troupes from the Balkans&amp;amp;mdash;in the manner of the great German circuses ([[Circus Hagenbeck|Hagenbeck]], [[Circus Sarrasani|Sarrasani]]…) of pre-war Europe.&lt;br /&gt;
&lt;br /&gt;
===An Expanding Circus Empire===&lt;br /&gt;
&lt;br /&gt;
Leonida Casartelli died in 1978 in a car accident. The management of Circo Medrano was taken over by one of his nephews, Ugo De Rocchi, who expanded Medrano’s foreign tours, and emphasized the &amp;quot;grandeur&amp;quot; of the circus. For the 1980 winter season in Rome, Medrano set up an impressive display of three big tops and, in the menagerie tent, offered a shark fight&amp;amp;mdash,a first in Europe! The following winter, in Milan, [[The Knie Dynasty|Louis Knie, Jr.]] joined the company with his tigers and elephants; later, in the spring, 250,000 people visited the circus in Tel Aviv. The 1982 season even saw the circus in Vienna, in direct competition with the giant Circus Krone.  &lt;br /&gt;
&lt;br /&gt;
In 1987, Medrano-Casartelli did its first tour in France, where its impressive menagerie&amp;amp;mdash;the like of which had not been seen in that country for a long while&amp;amp;mdash;was a sensation. But in France, where the title ''Medrano'' was duly protected and was the exclusive property of the Medrano family, the Casartellis were forced to change the name of their circus, which disappeared from all the vehicles and other visible locations and was replaced by ''Circo Italiano''. The show, which included a water pantomime, was presented by the famous French ringmaster, [[Sergio]].&lt;br /&gt;
&lt;br /&gt;
In the winter of 1993, the circus stayed four months in Athens, Greece, presenting two different programs in succession. During the 1990s, a second Casartelli unit traveled with water spectaculars and circus ice shows throughout Europe. At the same time, the family interests were expanded with the purchase of some of Italy’s biggest zoos and theme parks. &lt;br /&gt;
&lt;br /&gt;
Meanwhile, the extended Casartelli family spread around the globe: [[David Larible]], the son of Lucina Casartelli, became a world-famous clown, and his sister, [[Vivien Larible|Vivien]], a successful trapeze artist; of Liliana’s sons (who had married Wioris Togni), Holer became one of Europe’s best car stuntmen, and Divier, a major sport arena entrepreneur; Steve and Ronni Bello, the sons of Jose (who had married the juggler Luciano Bello), starred in a remarkable risley act at [[Circus Roncalli]], and then in [[Cirque du Soleil]]’s ''Varekai''. In 1996 the family created an extraordinary, twenty-five-minute equestrian display called ''Festa del Cavallo'', in which a dozen family members combined pyramids on horseback, jockey act, high school, pas-de-deux and liberty presentations. It received a Gold Clown at the [[International Circus Festival of Monte Carlo]].&lt;br /&gt;
&lt;br /&gt;
===The Casartellis Today===&lt;br /&gt;
&lt;br /&gt;
After 2000, Ugo De Rocchi’s interests became concentrated on the family’s theme park business, and the control of the circus passed into the hands of Leonida’s three sons, Heros, Davio, and Elio. In 2007, the Casartelli family won for the second time a Gold Clown at the Monte Carlo festival, with a pas-de-deux on horseback, two equestrian displays, and ''Aladdin'', an &amp;quot;oriental&amp;quot; circus pantomime in the grand old classic manner, which included no less that fifty performers and assistants (mostly family members), with a cornucopia of animals, among which a group of African elephants, a kangaroo, and two giraffes.&lt;br /&gt;
&lt;br /&gt;
Circo Medrano spends basically the winter months in Italy with one or two units, and spends the rest of the year on tour abroad. Davio, who has created a spectacular act with an African elephant and two tigers, has toured with [[Circus Louis Knie]] in Austria and Germany, and with [[Cirque Arlette Gruss]] in France. Elio’s son, Brian (b.1977), took charge of the numerous exotic animals, and has produced an equestrian pas-de-deux with his sister Ingrid (b.1979), which includes Ingrid’s balancing on one foot on her brother’s head, while they are riding on horseback&amp;amp;mdash;a trick never seen before in the rich annals of the equestrian arts.&lt;br /&gt;
&lt;br /&gt;
For its 2011 season, Circo Medrano-Casartelli was able to advertise (and truly show) three Gold and five Silver Clown winners from the International Circus Festival of Monte-Carlo&amp;amp;mdash;a feat that illustrates well the exceptional quality of their circus productions. Since 1990, the Casartellis have performed in Austria, Spain, France, Turkey, Greece, Israel, Cyprus, Malta, Serbia, Croatia, Slovenia, Syria, Bulgaria, Romania, Hungary, and Czechoslovakia. They are indeed the greatest ambassadors of the grand Italian circus tradition.&lt;br /&gt;
&lt;br /&gt;
==Suggested Reading==&lt;br /&gt;
&lt;br /&gt;
* Alessandro Cervelatti, ''Questa Sera Grande Spettacolo'' (Milano, Edizione Avanti!, 1961) &lt;br /&gt;
* Enrico and Serena Bassano, ''Una donna, un circo: Rosina Casartelli'' (Genova, La Stampa, 1997)&lt;br /&gt;
* Alessandra Litta Modignani, Sandra Montovani, ''Il circo della memoria'' (Trento, Publistampa Edizioni, 2008) — ISBN 978-88-902506-7-5&lt;br /&gt;
* Raffaele de Ritis, ''Storia del Circo - degli acrobati egizi al Cirque du Soleil'' (Roma, Bulzoni Editore, 2008) — ISBN 978-88-7870-317-9&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Video: [[Eros_Casartelli_Video_(1987)|Eros Casartelli, mixed animal act]], at the International Circus Festival of Monte Carlo (1987)&lt;br /&gt;
&lt;br /&gt;
==Image Gallery==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;Gallery&amp;gt;&lt;br /&gt;
File:Orfei_Casartelli_Togni.jpg|Ferdinando Togni, Darix Togni, Leonida Casartelli and Nando Orfei (c.1970)&lt;br /&gt;
File:Casartelli_Israel.jpg|Circo Medrano in Israel (1985)&lt;br /&gt;
File:Casartelli_France.jpg|Circo Casartelli in France (1997)&lt;br /&gt;
File:Circo_Casartelli_97.jpg|Circo Casartelli in France (1997)&lt;br /&gt;
File:Casartelli_Greece.jpg|Poster for Circo Medrano in Greece (2019)&lt;br /&gt;
File:Medrano-Casartelli_Firenze.jpg|Poster for Circo Medrano in Florence (2019)&lt;br /&gt;
&amp;lt;/Gallery&amp;gt;&lt;br /&gt;
&lt;br /&gt;
[[Category:History|Casartelli Family]][[Category:Circus Owners and Directors|Casartelli Family]][[Category:Animal Trainers|Casartelli Family]][[Category:Exotic Animals|Casartelli Family]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=File:Circo_Casartelli_97.jpg&amp;diff=36491</id>
		<title>File:Circo Casartelli 97.jpg</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=File:Circo_Casartelli_97.jpg&amp;diff=36491"/>
				<updated>2021-08-24T20:01:34Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Poster for the French tour of Circo Casartelli. The name &amp;quot;Medrano&amp;quot; being protected in France, the Casartelli family couldn't use it for this tour and had to revert to their name as their circus's title. (1997) &amp;amp;mdash; ''Private Collection''&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Biography: [[The Casartelli Family]]&lt;br /&gt;
&lt;br /&gt;
[[Category:Art Gallery|Casartelli]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=File:Circo_Casartelli_97.jpg&amp;diff=36490</id>
		<title>File:Circo Casartelli 97.jpg</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=File:Circo_Casartelli_97.jpg&amp;diff=36490"/>
				<updated>2021-08-24T20:00:33Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: Poster for the French tour of Circo Casartelli. The name &amp;quot;Medrano&amp;quot; being protected in France, the Casartelli family couldn't use it for this tour and had to revert to their name as their circus's title. (1997) &amp;amp;mdash; ''Private Collection''&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Poster for the French tour of Circo Casartelli. The name &amp;quot;Medrano&amp;quot; being protected in France, the Casartelli family couldn't use it for this tour and had to revert to their name as their circus's title. (1997) &amp;amp;mdash; ''Private Collection''&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=The_Casartelli_Family&amp;diff=36489</id>
		<title>The Casartelli Family</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=The_Casartelli_Family&amp;diff=36489"/>
				<updated>2021-08-24T19:42:23Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: /* Image Gallery */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;''By Raffaele de Ritis''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Circo Medrano-Casartelli==&lt;br /&gt;
&lt;br /&gt;
The Casartelli family is one of Italy’s most prominent circus families; they are also well known in the Mediterranean countries, the Balkans, and even Israel, where they tour regularly&amp;amp;mdash;although the name Casartelli rarely appears on their circuses’ marquees. They have used different titles over the years, most famously ''Medrano''&amp;amp;mdash;a title they purchased from the [[The Swoboda Family|Swoboda]] family of Austria, and which had no connection (beside the use of its famous name) with the legendary [[Cirque Medrano (Paris)|Parisian circus]].  &lt;br /&gt;
&lt;br /&gt;
The Casartellis run perhaps the most widely traveled circus organization in activity, having visited no less than twenty countries, some regularly, over the past seventy years (as of 2020)&amp;amp;mdash;sometimes with up to three units touring simultaneously. They are also active in the safari and theme park business. In contrast with typical century-old Italian circus dynasties, the Casartelli family managed to become in just a few decades one of the largest circus families in Europe; it counts today about one hundred members. &lt;br /&gt;
&lt;br /&gt;
They have revived at its best the prewar tradition of the great European traveling circuses-and-menagerie, with a large family-based company surrounded by some of the best acts in business. As artists, especially equestrians and animal trainers, the Casartellis won two Gold Clowns at the [[International Circus Festival of Monte Carlo]] (in 1996 and 2007), and they have given six command performances for four different Popes at the Vatican.&lt;br /&gt;
&lt;br /&gt;
===Mamma Rosina and Circo Aurora===&lt;br /&gt;
&lt;br /&gt;
The first known Casartelli active in the circus was Giuseppe Casartelli, who performed in the 1850s&amp;amp;mdash;although not much is known of him. His sons, Pietro (1860-1922), who was known as a good hand-balancer, and Federico (?-?), an acrobat and clown, started the first Casartelli circus, with the help of their numerous offspring. As it was common in Italian circus families of the time, all of them were trained acrobats and equestrians (notably in bareback riders). When Pietro’s elder son, Umberto, better known as Romeo (1893-1933), died in 1933, the family split. &lt;br /&gt;
&lt;br /&gt;
Umberto’s wife, the courageous and strong-willed Rosina, née [[The Gerardi Fanily|Gerardi]] (1898-1974), went back on the road with her son Leonida (1924-1978) and her daughters Jonne (1919-1999), Liliana (1921-2004), and Lucina (1931- 2003). She became the matriarch of the Casartelli family, establishing through her progeny the basis of the Casartelli circus dynasty. With the three horses and a caravan she received after the family split, Rosina began to move slowly from the Italian northeast to the Piedmont region, hoping to rejoin her family’s Circo Gerardi. She set up a small traveling outdoor arena, offering equestrian and aerial performances with her children, while the audience sat on soapboxes. &lt;br /&gt;
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What was originally a survival move actually paid off: By 1936, Rosina’s show was known as the ''Arena Rosa''; by 1939, it was a full-fledged circus performing under a second-hand big top purchased from the [[The Togni Family|Togni]] circus. By 1941, her circus had become a legitimate and respectable enterprise, known as ''Circo Aurora''. During WWII, it played regularly the fairs of Tuscany, and Rosina combined her efforts in the winter with the Tognis, who ran what was by far at the time the most important circus in the country&amp;amp;mdash;and benefitted from the protection of the Fascist government. This association led to several Togni-Casartelli marriages, creating multiple ties between the two families.&lt;br /&gt;
&lt;br /&gt;
By the end of the war, Rosina’s sons and nephews had already produced dozens of new family members, and her son Leonida took over the reins of the ever-growing family circus. At the time, Italian circus tours centered on a calendar of seasonal fairs, of which one or more circuses were generally the main feature. It was established by the [[Ente Nazionale Circhi]] (the Italian circus proprietor’s association), which used for this purpose a specific ranking system.&lt;br /&gt;
&lt;br /&gt;
In 1949, three circuses were in the &amp;quot;first class&amp;quot; category: [[The Orfei Family|Orfei]], Togni, and [[The Jarz Family|Jarz]]. Leonida Casartelli’s Circo Aurora quickly reached the &amp;quot;second class,&amp;quot; along with [[The Zamperla|Zamperla]], [[Alberto Zoppé|Zoppé]], and [[The Cristiani Family|Cristiani]]. Being in a higher category meant an exclusive tour of the largest regional fairs of Italy, and consequently prosperous business. And business was booming: After having bought his first elephant, Leonida acquired in 1950 a group of lions trained by Amedeo Gerardi, which he presented himself.&lt;br /&gt;
&lt;br /&gt;
Under Leonida’s management, Circo Aurora regularly booked international acts, and it continued his association with the Togni family through the 1950s. In 1958, Circo Aurora caught the attention of Spanish impresario [[Osvaldo Silvestrini]], who regularly brought over foreign circuses in Cataluña&amp;amp;mdash;among which the Italian Togni, Jarz , and Cristiani circuses, and the French Beautour, Bostok-Robba, and [[The Bouglione Family|Bouglione]]. Circo Aurora’s success in Spain made it the first foreign company to expand its tour to other Spanish regions. &lt;br /&gt;
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===A Circus Of Many Names===&lt;br /&gt;
&lt;br /&gt;
In 1959 Leonida Casartelli’s circus, which was growing, changed its name to ''Circo Coliseum'' in order to return to Spanish towns that Circo Aurora had already visited the previous season. Circo Coliseum actually improved considerably on the original Aurora, traveling with the first tent equipped with a prototype of the &amp;quot;Italian&amp;quot; elongated cupola, and presenting a water pantomime. The show featured also some of the best Italian acrobats of the time, among whom the banquine act of the [[The Nicolodi Family|Nicolodis]], and the [[Duo Larible|Larible]] brothers’ Washington trapeze act. A group of liberty horses was also added, and the circus’s interior furnishings were improved&amp;amp;mdash;somehow influenced by the Spanish circus impresario [[Arturo Castilla]]’s decorative style. &lt;br /&gt;
&lt;br /&gt;
The Casartellis’ Spanish tour ended in 1960. Back in Italy, in the early 1960s, the circus’s name switched frequently from ''Coliseum'' to ''Kerr-Kroll'' and back. The latter title was designed to compete with that of [[Circus Krone]], the giant German circus, which often toured in Italy at the time. In April 1963, Leonida Casartelli took his circus into a sport arena in Istanbul, Turkey. Without informing the Casartellis, the local producer, Osman Kavran, advertised the circus as &amp;quot;MED.RA.N.O. presents Circo Casartelli&amp;quot;; the ambiguous acronym was meant to stand for ''MEDiterranean Radiotelevision And News Organization''. &lt;br /&gt;
&lt;br /&gt;
The Swoboda family, who had visited Turkey successfully before with their Austrian Circus Medrano, tried to have the use of that title, in whatever spelling, suppressed, but it was to no avail. Under the same banner, the Casartellis went afterward on a Turkish tour that extended to Sofia, in Bulgaria. When they returned to Italy (and subsequently visited other southern European countries) they adopted the title ''Circo di Barcelona'', and presented a lavish Spanish-style production, replete with a flamenco ballet company. In 1968 the circus visited Israel for the first time. &lt;br /&gt;
&lt;br /&gt;
In the following few years, they used a variety of names (sometimes for several units visiting different countries): ''Circo Nazionale Togni'', ''Circo di Francia'', ''Circo Tokio'', ''Magic Circus'', ''Circo di Israele'', and finally, in 1971, the Tognis’ ''Circo Heros'' title. However, by 1972, in spite of its numerous name changes, the Casartelli enterprise had become one of Italy’s largest circuses, and it was finding its own identity. The only major Italian circus not using railroad transportation, its logistics were smooth, and its productions were sumptuous, with danced introductions to the acts, a big orchestra, and elaborate scenery. And whereas Italian circuses flirted with water pantomimes, ice shows and three-ring hippodrome spectaculars, Casartelli prided itself on being the only major circus faithful to one-ring, classic format&amp;amp;mdash;&amp;quot;Il Circo al 100 per 100&amp;quot;, as it advertised itself. &lt;br /&gt;
&lt;br /&gt;
===Medrano &amp;amp;mdash; Il Circo Famoso Nel Mondo===&lt;br /&gt;
&lt;br /&gt;
Still, Leonida felt he still had to develop two important elements for his circus: a name with a strong popular appeal, and a big menagerie, as had become the norm in most major circuses in the northern part of Europe. The name ''Medrano'' had gained great popularity in Italy and in the Mediterranean countries. In these regions, the ''Medrano'' title was not connected to the celebrated Parisian circus, but to the circus founded in Austria in 1904 by [[Ludwig Swoboda]] (1881-1952), which was initially called [[Zirkus Lajos]] (''Lajos'' is the equivalent of ''Ludwig'' in Hungarian). &lt;br /&gt;
&lt;br /&gt;
In 1920, for a tour of Poland, where the name Lajos was sounding a little too Hungarian (and was thus politically incorrect), Swoboda changed his circus’s name, which became &amp;quot;Medrano from Wien&amp;quot;. The choice of ''Medrano'' had been obviously inspired to Ludwig Swoboda by the homonymous Parisian institution, then at the peak of its glory. ([[Jérôme Medrano]] repeatedly fought to prevent the illicit use of his name out of the French borders, but without success). &lt;br /&gt;
&lt;br /&gt;
And so, the Swobodas  toured extensively in Eastern Europe, the Balkans, and the Mediterranean countries&amp;amp;mdash;including Italy&amp;amp;mdash;under the title ''Medrano'' until the 1960s. After Ludwig’s death in 1952, the circus was managed by his daughters&amp;amp;mdash;three of whom, Therese, Anita and Wanda, had achieved considerable fame with their equestrian act, which they performed as the [[The Swoboda Family|Medrano Sisters]]. Circus Medrano-Swoboda (as it became known in the business to avoid confusion with its French counterpart) had eventually ceased its activities in 1969. &lt;br /&gt;
&lt;br /&gt;
Three of the Swoboda sisters, Therese, Anita and Helena (Hella), had married and settled in Italy, where they had rented the ''Medrano'' name to various Italian circuses. Therese had died in 1951, and Anita eventually left the circus; Hella, who had married Renato Medini, of the famous Italian circus family, eventually remained sole owner of the title. In 1972, ''Medrano'' seemed to Leonida Casartelli a perfect name for his circus: Casartelli exploited the same market as had the Swobodas, a market where the ''Medrano'' title had gained, over the years, prestige and recognition. He made a deal with Renato Medini, and legally purchased a name that belonged to the seller somewhat illegitimately. (Other abusive uses of the ''Medrano'' title would later appear in Europe.) &lt;br /&gt;
&lt;br /&gt;
The advertising of the new Circo Medrano announced &amp;quot;Medrano – Il Circo Famoso nel Mondo&amp;quot;, and introduced a series of colorful movie-style posters, designed by the painter Renato Casaro, which stressed Circo Medrano’s main feature: its vast animal collection. Leonida Casartelli had aggressively and quickly assembled one of the best traveling zoos of the era. His was the first Italian circus to introduce in its menagerie African elephants, giraffes, a rhino, an orangutan, and, as a star attraction, a couple of gorillas. &lt;br /&gt;
&lt;br /&gt;
Beside the horses, the stables included zebras, camels, and all sorts of exotic animals, and the cage wagons housed cats of every kind, monkeys, and even a host of colorful tropical birds. These animals were taken care of by fine animal trainers, with such famous names as Houcke, McManus, Smith, and Beautour, followed in time by some of Leonida’s sons. Davio (b.1956) became an elephant specialist, and Heros (b.1949) an expert equestrian&amp;amp;mdash;while Elio (b.1952) took care of the circus administration and performances, and their sisters Ghisi (b.1944), Jose (1947-1997), and Liviana (b.1960), supervised the different departments of the circus. &lt;br /&gt;
&lt;br /&gt;
They all were performers, too, who participated in various family acts (notably a beautiful high school ensemble), and they were surrounded by some of the greatest acts of the period. One of the trademarks of Medrano-Casartelli (as the circus would become known in the business) was the presentation of &amp;quot;exotic&amp;quot; troupes of performers&amp;amp;mdash;African dancers, Moroccan tumblers, teeterboard troupes from the Balkans&amp;amp;mdash;in the manner of the great German circuses ([[Circus Hagenbeck|Hagenbeck]], [[Circus Sarrasani|Sarrasani]]…) of pre-war Europe.&lt;br /&gt;
&lt;br /&gt;
===An Expanding Circus Empire===&lt;br /&gt;
&lt;br /&gt;
Leonida Casartelli died in 1978 in a car accident. The management of Circo Medrano was taken over by one of his nephews, Ugo De Rocchi, who expanded Medrano’s foreign tours, and emphasized the &amp;quot;grandeur&amp;quot; of the circus. For the 1980 winter season in Rome, Medrano set up an impressive display of three big tops and, in the menagerie tent, offered a shark fight&amp;amp;mdash,a first in Europe! The following winter, in Milan, [[The Knie Dynasty|Louis Knie, Jr.]] joined the company with his tigers and elephants; later, in the spring, 250,000 people visited the circus in Tel Aviv. The 1982 season even saw the circus in Vienna, in direct competition with the giant Circus Krone.  &lt;br /&gt;
&lt;br /&gt;
In 1987, Medrano-Casartelli did its first tour in France, where its impressive menagerie&amp;amp;mdash;the like of which had not been seen in that country for a long while&amp;amp;mdash;was a sensation. But in France, where the title ''Medrano'' was duly protected and was the exclusive property of the Medrano family, the Casartellis were forced to change the name of their circus, which disappeared from all the vehicles and other visible locations and was replaced by ''Circo Italiano''. The show, which included a water pantomime, was presented by the famous French ringmaster, [[Sergio]].&lt;br /&gt;
&lt;br /&gt;
In the winter of 1993, the circus stayed four months in Athens, Greece, presenting two different programs in succession. During the 1990s, a second Casartelli unit traveled with water spectaculars and circus ice shows throughout Europe. At the same time, the family interests were expanded with the purchase of some of Italy’s biggest zoos and theme parks. &lt;br /&gt;
&lt;br /&gt;
Meanwhile, the extended Casartelli family spread around the globe: [[David Larible]], the son of Lucina Casartelli, became a world-famous clown, and his sister, [[Vivien Larible|Vivien]], a successful trapeze artist; of Liliana’s sons (who had married Wioris Togni), Holer became one of Europe’s best car stuntmen, and Divier, a major sport arena entrepreneur; Steve and Ronni Bello, the sons of Jose (who had married the juggler Luciano Bello), starred in a remarkable risley act at [[Circus Roncalli]], and then in [[Cirque du Soleil]]’s ''Varekai''. In 1996 the family created an extraordinary, twenty-five-minute equestrian display called ''Festa del Cavallo'', in which a dozen family members combined pyramids on horseback, jockey act, high school, pas-de-deux and liberty presentations. It received a Gold Clown at the [[International Circus Festival of Monte Carlo]].&lt;br /&gt;
&lt;br /&gt;
===The Casartellis Today===&lt;br /&gt;
&lt;br /&gt;
After 2000, Ugo De Rocchi’s interests became concentrated on the family’s theme park business, and the control of the circus passed into the hands of Leonida’s three sons, Heros, Davio, and Elio. In 2007, the Casartelli family won for the second time a Gold Clown at the Monte Carlo festival, with a pas-de-deux on horseback, two equestrian displays, and ''Aladdin'', an &amp;quot;oriental&amp;quot; circus pantomime in the grand old classic manner, which included no less that fifty performers and assistants (mostly family members), with a cornucopia of animals, among which a group of African elephants, a kangaroo, and two giraffes.&lt;br /&gt;
&lt;br /&gt;
Circo Medrano spends basically the winter months in Italy with one or two units, and spends the rest of the year on tour abroad. Davio, who has created a spectacular act with an African elephant and two tigers, has toured with [[Circus Louis Knie]] in Austria and Germany, and with [[Cirque Arlette Gruss]] in France. Elio’s son, Brian (b.1977), took charge of the numerous exotic animals, and has produced an equestrian pas-de-deux with his sister Ingrid (b.1979), which includes Ingrid’s balancing on one foot on her brother’s head, while they are riding on horseback&amp;amp;mdash;a trick never seen before in the rich annals of the equestrian arts.&lt;br /&gt;
&lt;br /&gt;
For its 2011 season, Circo Medrano-Casartelli was able to advertise (and truly show) three Gold and five Silver Clown winners from the International Circus Festival of Monte-Carlo&amp;amp;mdash;a feat that illustrates well the exceptional quality of their circus productions. Since 1990, the Casartellis have performed in Austria, Spain, France, Turkey, Greece, Israel, Cyprus, Malta, Serbia, Croatia, Slovenia, Syria, Bulgaria, Romania, Hungary, and Czechoslovakia. They are indeed the greatest ambassadors of the grand Italian circus tradition.&lt;br /&gt;
&lt;br /&gt;
==Suggested Reading==&lt;br /&gt;
&lt;br /&gt;
* Alessandro Cervelatti, ''Questa Sera Grande Spettacolo'' (Milano, Edizione Avanti!, 1961) &lt;br /&gt;
* Enrico and Serena Bassano, ''Una donna, un circo: Rosina Casartelli'' (Genova, La Stampa, 1997)&lt;br /&gt;
* Alessandra Litta Modignani, Sandra Montovani, ''Il circo della memoria'' (Trento, Publistampa Edizioni, 2008) — ISBN 978-88-902506-7-5&lt;br /&gt;
* Raffaele de Ritis, ''Storia del Circo - degli acrobati egizi al Cirque du Soleil'' (Roma, Bulzoni Editore, 2008) — ISBN 978-88-7870-317-9&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Video: [[Eros_Casartelli_Video_(1987)|Eros Casartelli, mixed animal act]], at the International Circus Festival of Monte Carlo (1987)&lt;br /&gt;
&lt;br /&gt;
==Image Gallery==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;Gallery&amp;gt;&lt;br /&gt;
File:Orfei_Casartelli_Togni.jpg|Ferdinando Togni, Darix Togni, Leonida Casartelli and Nando Orfei (c.1970)&lt;br /&gt;
File:Casartelli_Israel.jpg|Circo Medrano in Israel (1985)&lt;br /&gt;
File:Casartelli_France.jpg|Circo Casartelli in France (1997)&lt;br /&gt;
File:Casartelli_Greece.jpg|Poster for Circo Medrano in Greece (2019)&lt;br /&gt;
File:Medrano-Casartelli_Firenze.jpg|Poster for Circo Medrano in Florence (2019)&lt;br /&gt;
&amp;lt;/Gallery&amp;gt;&lt;br /&gt;
&lt;br /&gt;
[[Category:History|Casartelli Family]][[Category:Circus Owners and Directors|Casartelli Family]][[Category:Animal Trainers|Casartelli Family]][[Category:Exotic Animals|Casartelli Family]]&lt;/div&gt;</summary>
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&lt;div&gt;Poster for Circo Nedrano-Casartelli visit in Israel (1985) &amp;amp;mdash; ''Private Collection''&lt;br /&gt;
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==See Also==&lt;br /&gt;
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* Biography: [[The Casartelli Family]]&lt;br /&gt;
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[[Category:Art Gallery|Casartelli]]&lt;/div&gt;</summary>
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		<summary type="html">&lt;p&gt;DjandoAdmin: Poster for Circo Nedrano-Casartelli visit in Israel (1985) &amp;amp;mdash; ''Private Collection''&lt;/p&gt;
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&lt;div&gt;Poster for Circo Nedrano-Casartelli visit in Israel (1985) &amp;amp;mdash; ''Private Collection''&lt;/div&gt;</summary>
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	<entry>
		<id>https://www.circopedia.org/index.php?title=Nouveau_Cirque_(Paris)&amp;diff=36483</id>
		<title>Nouveau Cirque (Paris)</title>
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		<summary type="html">&lt;p&gt;DjandoAdmin: /* Les Arènes Nautiques */&lt;/p&gt;
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''By Dominique Jando''&lt;br /&gt;
[[File:Nouveau_Cirque_Cheret.jpg|right|380px]]&lt;br /&gt;
&lt;br /&gt;
==Les Arènes Nautiques==&lt;br /&gt;
&lt;br /&gt;
Located from 1886 to 1926 on the rue Saint Honoré in Paris, a chic shopping thoroughfare at a stone’s throw from the Place Vendôme, the Nouveau Cirque was the most elegant and innovative circus of the French capital&amp;amp;mdash;and, for that matter, of Europe. For many years, it was the High Society’s circus of choice. Its relatively small size gave it warmth and intimacy (it was sometimes referred to as a &amp;quot;bonbonniere&amp;quot;), but in time, the Nouveau Cirque’s limited capacity made it difficult to manage. It began to lose its prominence before the first World War and proved unable to adapt to the post-war era.&lt;br /&gt;
&lt;br /&gt;
The Nouveau Cirque was built for its times&amp;amp;mdash;what is remembered today as the Parisian &amp;quot;Belle Époque&amp;quot; (&amp;quot;Beautiful Era&amp;quot;), of which it was one of the jewels. After WWI, Paris entered the Jazz Age. Then, in the early 1920s, the venerable [[Cirque d’Hiver]], completely refurbished, returned to the presentation of circus shows after a rather futile hiatus as a movie-house and theater; the [[Cirque Medrano (Paris)|Cirque Medrano]] began to enjoy one of its more lucrative periods; and the brand-new [[Empire Music-Hall Cirque]] opened its doors Avenue de Wagram: The small &amp;quot;bonbonniere&amp;quot; that was the Nouveau Cirque looked suddenly like a remnant of another era. It faced a competition it was ill-equipped to fight. Once a revolutionary and trendsetting house whose rich and often glorious life had lasted forty years, the Nouveau Cirque finally called it quits.&lt;br /&gt;
&lt;br /&gt;
===Joseph Oller===&lt;br /&gt;
&lt;br /&gt;
[[File:Oller_Lautrec.jpeg|thumb|left|300px|Joseph Oller and Henri de Toulouse Lautrec at the races (c.1900)]]The Nouveau Cirque was created by Joseph Oller (1839-1922), an imaginative entrepreneur and prolific provider of Parisian amusements. He was born Josep Oller i Roca in Terrassa, in Spanish Catalonia, on February 10, 1839; his parents were Francesc Oller, a fabric merchant, and his wife, Teresa, née Roca. The family emigrated to France when Josep was two years old, and the Ollers settled in Paris where Josep, now Joseph, was raised. He eventually returned to Spain to study at the University of Bilbao in the Basque Country, and while there, he discovered cockfighting, which was still very popular in the nineteenth century. His passion for this gory game led him to become a bookmaker&amp;amp;mdash;his first entrepreneurial endeavor.&lt;br /&gt;
&lt;br /&gt;
Back to Paris, Oller transferred his bookmaking activities to horse racing. France had gained by then a new Emperor, Napoléon III, whose half-brother, the Duc de Morny, had been influential in the development of horse racing in France and had built the Deauville-La Touques racetrack in 1862. Morny died in 1865, but with his help, Oller had begun to develop the concept of the &amp;quot;pari mutuel&amp;quot; (literally meaning &amp;quot;mutual betting&amp;quot;), an innovative system in which bets are placed in a pool, and the winners share the losers' stakes&amp;amp;mdash;after the bookmaker has taken his commission. Oller put his new system to work in 1867; it replaced advantageously fixed-odds betting and made him a rich man indeed. Oller also launched ''Le Bulletin des Courses'', France’s first horse-racing journal.&lt;br /&gt;
&lt;br /&gt;
Then, on July 16, 1870, France declared war to Prussia; Oller, who was thirty-one then, went to London to avoid the conflict. There he began to take an interest in the world of show business&amp;amp;mdash;not so much in the theater as in the popular British Music-Hall, which was then blooming. Meanwhile, in September, France suffered a humiliating defeat in Sedan after only one and a half months of fighting, which resulted in the fall of the Second Empire. A new Republic was immediately instituted, and a peace treaty was finally signed in January 1871. The Commune of Paris, a short-lived but violent attempt at a socialist revolution, followed.&lt;br /&gt;
&lt;br /&gt;
[[File:Piscine_Rochechouart.jpg|thumb|300px|right|Poster for ''La Grande Piscine Rochechouart'' (1886)]]After the situation had calmed down, Oller returned to Paris and resumed his bookmaking activities. Unfortunately, in 1875, a French court declared the ''pari mutuel'' illicit and Oller was fined and sentenced to fifteen days in jail for illegal gambling. This didn’t discourage him, however; in 1878, he would create the elegant racetrack of Maisons-Laffitte, in the Paris suburbs, and the racetrack of Saint-Germain in 1882. He would eventually be vindicated in 1891 with the creation of the ''Pari Mutuel Urbain'', known as the PMU, an official version of his horse betting system run by the French government! Yet, for the time being, he put to use his new interest in show business.  &lt;br /&gt;
&lt;br /&gt;
Oller’s vast bookmaking office was located on the fashionable and theatrical Boulevard des Italiens, on the site of an old variety house, ''Les Folies Parisiennes''; in 1875, after having served his prison term and not to leave his space idle, he transformed it into a new variety theater, ''Les Folies Oller'' (which became a legitimate theater three years later). Even though Oller still maintained activities related to horse racing, he was not short of new ideas: In 1885, he opened ''La Grande Piscine Rochechouart'', Paris’s first indoor swimming pool, which was an immediate sensation. During the Second Empire, wealthy Parisians had discovered the pleasures of sea baths (in Deauville notably) and the popular Piscine Rochechouart attracted them en masse. However, it soon became a little too democratic for many of them. &lt;br /&gt;
&lt;br /&gt;
To keep his wealthy clientele happy, Joseph Oller came up with what appears to have been a very original solution: To open a polyvalent space that would be a swimming pool in the summer months, to be transformed into a circus during the rest of the year. Or at least, this is the story as it is usually told; we may wonder, however, if Oller developed this singular idea ''before'' or ''after'' he found the space on the posh rue Saint-Honoré: Considering the remarkable layout of the locale available to him, we can surmise that he got his circus idea when he saw it&amp;amp;mdash;lest he had an incredible stroke of luck in finding a perfect place for a circus project; his initial idea, after all, was to build a swimming pool.&lt;br /&gt;
&lt;br /&gt;
===The Panorama of Reischoffen===&lt;br /&gt;
&lt;br /&gt;
[[File:Reischoffen_Panorama_cross_section.png|left|thumb|400px|The Panorama of Reischoffen, cross-section (1881)]]The space, located at 251 rue Saint-Honoré, had been built to house the &amp;quot;Panorama of Reischoffen&amp;quot; and had opened its doors in November of 1881. Very popular in the nineteenth century, panoramas were large, realistic scenes painted on a giant 360º cyclorama, to which were added tridimensional objects and characters. They generally represented a famous landmark or, more often than not, a famous battle. The panorama exhibited rue Saint-Honoré, titled ''La Charge des Cuirassés de Reischoffen'', depicted a rare French episode of glory in the short-lived Franco-Prussian war of 1870. It spoke to the patriotic fiber of the French people, to whom the defeat of Sedan (and the loss of Alsace, where Reischoffen is located) remained an open wound. &lt;br /&gt;
&lt;br /&gt;
The large rotunda in which the panorama was installed had been erected at the back of what once was the beautiful ''Salle Valentino'', a famous ballroom of the Second Empire that had long lost its luster and had known several unsuccessful transformations. The ensemble that had replaced it had been designed by Charles Garnier (1825-1898), the architect of Paris’s and Monte Carlo’s flamboyant opera houses. (Garnier would build another panorama in 1883, the ''Panorama Marigny'', today’s Théâtre Marigny, in the Jardins des Champs-Élysées.) &lt;br /&gt;
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[[File:Reischoffen_Panorama.jpg|300px|right|thumb|Poster for the Panorama of Reischoffen (1881)]]Garnier’s rotunda had a diameter of 33 meters (approximately 109 feet), and its cupola culminated at 27 meters (approximately 89 feet) under the lantern. The peripheral wall had a height of 18 meters (about 59 feet). It had no windows, but the cupola had a ribbon of glass running on its periphery, which lighted the panorama. To access his rotunda, Garnier built in the old ballroom’s space a spectacular foyer with a grand staircase, in the Neo-Baroque style that had made him famous. The ensemble was completed by a narrow, yet elegant façade on the rue Saint-Honoré.&lt;br /&gt;
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Despite its lavish accommodations, the Panorama de Reischoffen was dismantled in 1882 to be taken on tour in the French provinces, where it was exhibited in wooden constructions especially erected for the occasion. With no other panorama to replace it, the Parisian rotunda became practically useless, but Garnier’s elegant foyer was used for various events, from art salons to political meetings. The ''Panorama Valentino'', as it was now known, had become a space for rent&amp;amp;mdash;or, eventually, for sale.&lt;br /&gt;
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As it was, the old panorama’s rotunda and its entrance hall formed an ideal, &amp;quot;ready-to-wear&amp;quot; space to house a circus, especially since all the basic infrastructure was already there! Circus had always been very popular in Paris, and the French capital, with its four active circus buildings (the [[Cirque des Champs-Élysées]], the Cirque d’Hiver, the [[Cirque Medrano (Paris)|Cirque Fernando]], and the [[Hippodrome de l’Alma]]), was Europe’s circus epicenter. No surprise then that the entrepreneurial Joseph Oller decided to combine, in this unexpectedly ideal space of the rue Saint-Honoré, a circus with his swimming pool!&lt;br /&gt;
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===A Revolutionary Circus===&lt;br /&gt;
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The city block on which Oller was to install his ''Arènes Nautiques'' (&amp;quot;water arena,&amp;quot; as the Nouveau Cirque was originally called at the suggestion of the famous playwright Victorien Sardou) seems to have been predestined for such a project: From 1807 to 1816, it had housed the [[The Franconi Dynasty|Fanconis]]’s second [[Cirque Olympique (Paris)|Cirque Olympique]], which had been located on the opposite side of the block, rue du Mont-Thabor. Oller, who had obviously never known that long-forgotten circus, had no apparent reason to have chosen his locale by reason of the block’s circus history, as it has sometimes been said. It was just an auspicious coincidence: His choice had been indeed dictated by more prosaic reasons.&lt;br /&gt;
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[[File:Nouveau_Cirque_elevation.jpg|thumb|left|400px|The Nouveau Cirque, cross section (1886)]]The former panorama came with an elegant façade, a majestic entrance hall and a spectacular foyer that didn’t need any significant alterations. The big rotunda that was to accommodate the circus itself and its swimming pool was another matter: It was just a huge empty shell that had to be entirely refurbished, and whose ground had to be dug to install a water basin. Annexes had also to be built to accommodate stables, dressing rooms and, as we shall see, an important machinery. Oller entrusted the project to Gustave Gridaine (1835-?), the architect who had designed Paris’s Cirque Fernando, and Aimé Sauffroy (1840-1907), a pre-Art-Nouveau architect fond of metallic structures, who had designed the very innovative headquarters of the Parisian daily ''Le Figaro'', rue Drouot, in 1874.&lt;br /&gt;
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To accommodate the use of the place as both a circus and a swimming pool, Gridaine and Sauffroy worked with Louis Solignac (1858-1902), the engineer who had conceived the technical features of the Piscine Rochechouart. Together, they came up with quite an imaginative plan: The six rows of seats directly surrounding the ring were installed on a metallic structure built over the basin. The seats and their supporting structure could be removed in the summer to reveal the full size of the swimming pool, which had a total diameter of 25 meters (about 82.5 feet) and a depth of three meters (10 feet). &lt;br /&gt;
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[[File:Nouveau_Cirque_Plan.jpg|thumb|right|400px|Plan of the Nouveau Cirque (1886)]]At the center of this removable seating system, the circus ring, which had the traditional diameter of 13.5 meters, had a wooden slatted floor standing on a metallic structure supported in its center by a hydraulic column that could lower the ring below water level; during the operation (which took about six minutes), the water rushed through the floor openings. This ingenious contraption was conceived by Léon Edoux (1827-1910) the engineer and industrialist who had developed the first French ''ascenseurs'' (elevators)&amp;amp;mdash;with which he would later equip the Eiffel Tower between its second and third floors. (Installed in 1889, Edoux’s original elevators on the Eiffel Tower remained in service until 1983!). &lt;br /&gt;
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Beside its use to lower the ring floor when the swimming pool went into use, Edoux’s system also allowed to transform the ring quickly into a water basin when the building was used as a circus&amp;amp;mdash;thus enabling the presentation of water spectacles, which would be the Nouveau Cirque’s most popular attraction. This revolutionary concept presented a problem however: Circus rings were traditionally covered with soil and sawdust to allow equestrian presentations, which were still an essential part of the circus performance. The architects found a novel solution: They covered the ring with a thick, removable carpet made of woven esparto fibers. The carpet alone weighted two metric tons (about 4,400 pounds); the total weight of the ring floor, when covered, scaled at thirty metric tons, but Edoux’s system was built to manage it.&lt;br /&gt;
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[[File:Nouveau_Cirque_cross_section.jpg|left|thumb|400px|The Water Basin (1886)]]All this was indeed state-of-the art technology at the time, but this was not the extent of the Nouveau Cirque’s innovations. The entire building was equipped with electric light, which was still a rarity then: The electrification of Paris had just begun in 1882, and the first sections of its electrical network will appear only in 1888. Solignac had to install two powerful generators&amp;amp;mdash;which generated not only the necessary power, but also complaints from the circus’s neighbors… (Yet, the building was still equipped with gas lighting in case of electrical failure: Apparently, electrical power was not deemed entirely reliable.) Solignac also designed a system to keep the water temperature in the basin at 25º C (77º F), and the circus and its annexes were outfitted with hot-air heating.&lt;br /&gt;
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As for the house, its ring, as mentioned before, was surrounded by six rows of individual armchairs with folding seats, a novelty that had just been introduced by the Théâtre du Vaudeville on the Boulevard des Capucines. Behind them was a circle of fifty-six comfortable theater boxes, accommodating five persons each. Above the boxes was a vast ''promenoir'' (standing room gallery), with a series of bars scattered on its periphery. This gave a total of only 870 seats, the rest of the patrons standing in the ''promenoir''. The circus was nonetheless advertised as able to accommodate 3,000 spectators, which would have implied an unlikely crowd of more than 2,000 standing in the gallery! The scarcity of actual seats will eventually prove a financial handicap and, later, the entire periphery of the ''promenoir'' was outfitted with two additional rows of seats.&lt;br /&gt;
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[[File:Nouveau_Cirque's_seats_and_boxes.jpg|right|thumb|400px|Seats and Boxes (c.1900)]]The house was decorated in the Neo-Baroque style of Garnier’s foyer with gilded ornaments by Etienne Cornellier (1837-1902), floral decorations by the great specialist of the genre, Eugène Petit (1839-1886), and eleven frescoes depicting scenes of the Roman circus by Jules-Élie Delaunay (1828-1891), a respected artist whose painted panels can still be seen in the Octogonal Salon at the Paris Opéra. The orchestra was perched on a balcony high over the ''promenoir'', above the ring entrance. The entire decorating scheme gave a feeling of warmth and luxury, and the small size of the house (thirty-three meters in diameter, compared to the forty-two meters of the Cirque d’Hiver) added a sense of intimacy.&lt;br /&gt;
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The all-important annex was built in place of a small building adjacent to the rotunda, expanding the old Panorama’s original extension. It included stables for twenty horses, spaces for the generators and other machinery, and, on the second floor, offices and dressing rooms. The courtyard had long been connected to the rue Saint-Honoré by an alley that opened on the street, a few yards from the circus’s façade. This alley now provided access to the stables, the stage door and a side entrance to the circus.&lt;br /&gt;
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===The Nouveau Cirque Opens===&lt;br /&gt;
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[[File:NC_Leopold_Loyal.jpg|thumb|left|300px|Poster featuring Léopold Loyal (1886)]]The Nouveau Cirque (the title Oller chose for the circus when it was not used as a swimming pool&amp;amp;mdash;and the sole name under which it would subsequently be known) opened its doors on Friday, February 12, 1886. The ''Tout-Paris'' of the arts and the racing world was in attendance. The ''régisseur général'' (a position which, in Parisian circuses, was a mixture of artistic, personnel, performance, and equestrian director) was [[Léopold Loyal]] (1835-1889), from the prolific French circus dynasty that has provided so many ''régisseurs'' to Parisian circuses that a ''Monsieur Loyal'' is today the French term that designates a ringmaster. &lt;br /&gt;
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A popular equestrian and circus director who had already served as ''régisseur'' in [[Louis Dejean]]’s Parisian circuses, Léopold Loyal was &amp;quot;tall, large, even ventripotent like a maître d’hôtel, but decorative to a supreme degree, and he held his whip like a Roman emperor his scepter&amp;quot;&amp;amp;mdash;according to Georges Strehly in his book ''L’Acrobatie et les Acrobates'' (1903). Loyal brought with him his brothers, his sons, and an important roster of artists that, on the opening night, circus critics thought a little uninspiring&amp;amp;mdash;but the celebrated clown [[Billy Hayden]] saved the evening with his English-accented verbal humor and his trained pig. &lt;br /&gt;
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Indeed, not everything went well on this first night: The horses, not used to working on an esparto mat, were particularly unruly, but the horse-savvy audience took it in stride. This was of no consequence compared to the fantastic spectacle offered by the removal of the mat and the extraordinary vision of the ring being transformed into a water basin&amp;amp;mdash;in which scantily-clad naiads made graceful evolutions to boot! In its review of the event, the very influential ''Journal des Débats'' waxed enthusiastic, calling the Nouveau Cirque &amp;quot;the eighth wonder of the world.&amp;quot; Oller’s wealthy patrons were also impressed by the new circus’s magnificence and its comfort, and soon its boxes were sold out for the season. The Nouveau Cirque was an unmitigated success, and here to stay. &lt;br /&gt;
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[[File:Portrait_Foottit.png|thumb|300px|right|George Foottit (c.1890)]]Its company of performers was quickly reinforced, notably with the arrival of a talented young clown, [[George Foottit]], whose parody of a ballerina on horseback was a huge hit. Foottit will quickly become the Nouveau Cirque’s star clown. The water basin, which had proved to be the circus’s main attraction, welcomed the dives and evolutions of a professional naiad, Agnes Beckwith, &amp;quot;The Greatest Lady Swimmer of the World,&amp;quot; who, claimed her advertising, had performed for the Prince and Princess of Wales. The Princess was certainly mentioned for wants of propriety&amp;amp;mdash;since performing for the notoriously dissipated Prince of Wales (the future Edward VII) in a bathing suit was not necessarily an accomplishment to publicize!&lt;br /&gt;
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For the summer break, the building switched to its original purpose, the ''Arènes Nautiques'', Joseph Oller’s summer indoor swimming pool. It was a complete fiasco! Oller had not taken into account that, in the summer, wealthy Parisians preferred to leave the capital and go to elegant seaside resorts such as Deauville, Biarritz, Nice and Monte Carlo, where casinos and racetracks added to (and often overcame) the healthy pleasures of the beach. Whether advertised as ''Arènes Nautiques'' or ''Bains du Nouveau Cirque'' (&amp;quot;Nouveau Cirque’s Baths&amp;quot;), the swimming pool never took off. It would be soon abandoned&amp;amp;mdash;but not the circus, a lucky second thought that was paying back Oller’s investment.&lt;br /&gt;
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===Water Pantomimes===&lt;br /&gt;
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[[File:NC_Grenouillere.jpg|thumb|left|300px|Poster for ''La Grenouillère (1886)]]The 1886-87 season opened with the elephant act of [[Samuel Lockhart]], which proved, if need be, that the ring support was sturdy enough to support their evolutions. Star equestriennes [[Adelina Price]] and [[Elvira Guerra]] came to reinforce the equestrian department, Foottit consolidated his position as principal clown, [[The Hanlon-Voltas]] confirmed that the Nouveau Cirque could accommodate a big flying act, and the Johnson Swimmers (male and female) exhibited their graceful bodies in the basin. But the event that was to define the Nouveau Cirque occurred in December 1886: ''La Grenouillère'' was the first of a long string of water pantomimes.&lt;br /&gt;
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This first water pantomime, whose paper-thin storyline had been written by Raoul Donval (who was going to be intimately associated with the Nouveau Cirque three years later) and Pierre Delcourt (1852-1931), with a musical score by Laurent Grillet (1851-1901), the Nouveau Cirque’s  musical director, was inspired by the popular boating establishment-cum-spa and floating café of the same name. Easily accessible by train from Paris, La Grenouillère was located on the Seine river, near Bougival, and had been once visited by Napoléon III and his family, which made it a fashionable middle-class destination. Painted by Claude Monet and Auguste Renoir and the setting of a short story by Guy de Maupassant, its sole name evoked fun and water frolics&amp;amp;mdash;which was just what the Nouveau Cirque offered its spectators, with lovely naiads having a great time and boisterous clowns falling into the water with a big splash. &lt;br /&gt;
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Not very refined perhaps, but it was a huge success. If the Nouveau Cirque’s pantomimes that followed would remain as simplistic and infantile as ''La Grenouillère'' (even though they were created to entertain a mostly adult audience), they were nonetheless lavishly produced, with elaborate sets, intricate staging and amazing special effects that would make them visually spectacular. They provided the kind of spectacle that prompted Jean Cocteau to reminisce, in 1935, about the then-defunct Nouveau Cirque: &amp;quot;The program’s highlight was the water pantomime. The surge of the water leaves me with poignant memories. No trick, no gag of the cinematograph will ever replace this wonder.&amp;quot;&lt;br /&gt;
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[[File:Hanri_Agoust.jpg|right|250px|thumb|Henri Agoust (1889)]]Another pantomime, authored by [[Henri Agoust]] (1840-1901) and titled ''La Foire de Séville'' (&amp;quot;The Fair at Seville&amp;quot;) followed in March 1887, but this one, which included songs and dances and a large dose of comedy including a bullfight parody, didn’t use the swimming pool and remained dry. Henri Agoust, who had been appointed ''régisseur'' in charge of the spectacles and pantomimes, was a former juggler with an extensive training in ballet and mime; his wife, Rosita Zanfretta, who came from an old circus family, had made a name for herself on the flying trapeze as [[Azella]], &amp;quot;The Female Léotard.&amp;quot; Agoust, had long been associated with the famous acrobats and pantomimists [[Hanlon Brothers]] and had authored and choreographed several ballets. &lt;br /&gt;
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Le clown [[Tony Grice]] led the pièce de résistance of ''La Foire de Séville'', its bullfight parody. A well-known and popular clown, Grice had joined the Nouveau Cirque the previous year with his young black assistant, a former Cuban slave he had found in Spain and nicknamed [[Chocolat]] (meaning chocolate)&amp;amp;mdash;an unimaginative racial slur that sounded funny at the time. Chocolat will soon become a pillar of the Nouveau Cirque and he will write with George Foottit an important page of French circus and clown history. &lt;br /&gt;
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The company went on a provincial tour during the summer break and, for the opening of the 1887-88 season, the Nouveau Cirque reprised ''La Grenouillère'', which still packed the house, and in December, launched a new water pantomime, ''Le Carnaval de Venise'' (&amp;quot;Carnival in Venice&amp;quot;), with the participation of a group of Neapolitan singers, a few gondolas, dancers and naiads, and the inevitable fall of the clowns into the water&amp;amp;mdash;all that to the Italian tunes of Lucien Grillet’s band of forty musicians. As usual, the pantomime occupied the third part of a show in three parts, in which Tony Grice and George Foottit still battled for the position of star clown&amp;amp;mdash;with a growing advantage for Foottit. ''Le Carnaval de Venise'' was another triumph that ran until March 1888.&lt;br /&gt;
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It was immediately followed by yet another water spectacle, ''La Noce de Chocolat'' (&amp;quot;Chocolat’s Wedding&amp;quot;), which was to become the Nouveau Cirque’s most famous pantomime and will be reprised several times. Staged (and probably conceived) by Henri Agoust, it told the story of a wedding in a riverside ''guinguette'' (tavern), such as they could be found around Paris on the banks of the Seine and Marne rivers. The groom was black, and his wife-to-be was a charming white maiden…  The newlyweds were happily celebrating, with music, songs, dances and gags, when a group of revelers crashed the party, intent on kidnapping the bride, perhaps to &amp;quot;protect&amp;quot; her from a black husband… A brawl ensued and eventually, true to tradition, everybody fell into the water… &lt;br /&gt;
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[[File:La_Noce_de_Chocolat.jpeg|thumb|left|300p|Poster for ''La Noce de Chocolat''(1888)]]The groom was played by Chocolat, whose appearance in this piece was his first as a featured performer (up to then, he had just been an occasional comic character and a sidekick for Tony Grice). Chocolat was a good dancer and he was very nimble physically. Since he was black, the audience of the time expected him to be ridiculed, but Chocolat had a true comic nature, which George Foottit and his colleagues had indeed already noticed, and he had an engaging personality that pleased the audience. Having no formal training in dance, acrobatics or comedy, he was still a little rough around the edges, but he was what is called in show business &amp;quot;a natural.&amp;quot; &lt;br /&gt;
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''La Noce de Chocolat'' was the Nouveau Cirque’s most successful pantomime so far. The rest of the program also featured &amp;quot;Caviar,&amp;quot; the riding bear, which was another sensation, and ''Le Figaro'' enthusiastically noted: &amp;quot;With Caviar and La Noce de Chocolat, there is enough to make all Paris run to the Nouveau Cirque for months to come…&amp;quot; And indeed, so did Paris until the end of the season. &lt;br /&gt;
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On the 1st of October 1888, the new season began with a &amp;quot;dry&amp;quot; pantomime, ''Lulu'', written by the well-known journalist and author of erotic novels, Félicien Champsaur (1858-1934). Staged by Henri Agoust, this poetic fantasy featured Mlle. Massoni playing Lulu, a ''clownesse'' who had lost her heart (literally), with Agoust as an old, pedantic professor and Foottit as a dandy named Harlequin. A bevy of pretty girls in skimpy costumes completed the cast. It was quite innocent but, thanks to Champsaur’s naughty reputation, it made Parisians run again to the Nouveau Cirque. (In 1900, Champsaur will revive Lulu in a very successful novel titled ''Lulu, Roman Clownesque''.) &lt;br /&gt;
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The water basin was not forgotten, though: It was used to stage a &amp;quot;combat naval&amp;quot; (naval battle) with miniature warships. Then, in December, the pool was the setting for a new water pantomime, still staged by Agoust, ''L’île des Singes'' (&amp;quot;Monkeys' Island&amp;quot;). Chocolat starred again in this one, which he had inspired: It featured the music and dances of Cuban slaves in a story set in a Caribbean island where a group of mischievous monkeys created mayhem and eventually manhandled the poor Chocolat&amp;amp;mdash;the hapless cook of the plantation’s owner, played by Foottit. Snapping his whip, Foottit restored order, which resulted in many comic situations and, as usual, everybody falling into the water…&lt;br /&gt;
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==The Golden Age: Raoul Donval==&lt;br /&gt;
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[[File:Raoul_Donval.jpg|thumb|right|250px|Raoul Donval (c.1880)]]This was the last pantomime staged under Joseph Oller’s reign. He resigned his directorial position at the end of the year to pursue other projects, which would include the creation of the ''Bal du Moulin-Rouge'' and the ''Montagnes Russes'', a scenic roller coaster he erected on the Boulevard des Capucines, on the site of which he subsequently built the ''Olympia'' theatre, Paris’s first British-style Music-Hall (which is still extent). Leopold Loyal took over the Nouveau Cirque’s interim management, while the circus’s shareholders looked for a successor to Oller. They had to act quickly: Paris’s ''Exposition Universelle'' (World’s Fair) was due to open its doors in May 1889, and the Nouveau Cirque had to go full steam ahead to take good advantage of the millions of visitors that would flock to the capital.&lt;br /&gt;
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Léopold Loyal reprised two Nouveau Cirque’s proven successes, ''La Noce de Chocolat'' in February, and ''La Foire de Séville'' in March, and Parisians discovered a very talented and, to their eyes, exotic Japanese tight-wire dancer nicknamed &amp;quot;Little All Right&amp;quot; (his real name was [[Umekichi Hamaikari]]), whom [[Richard Risley Carlisle]], the famous &amp;quot;Professor&amp;quot; Risley who originated the Risley act, had brought back from his Japanese tours. Loyal’s interim management came to an end on June 9, 1889, when Oller’s successor, Raoul Donval (1852-1898), was put at the helm of the Nouveau Cirque; he would manage it with great success for the next eight years&amp;amp;mdash;during which the circus of the rue Saint-Honoré entered its golden age.&lt;br /&gt;
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The son of a gendarme, Raoul Donval was born Arthur Théobald Gilloreau on February 19, 1852 in Noailles, a small town in the Oise department, near Paris. He began his professional life as a telegrapher for the Chemins de Fer du Nord (a railway company), but he was attracted by the stage and decided to become an actor. In 1877, at age twenty-five, he debuted at the Théâtre de l’Athénée in Paris in the small role of… Césarius, a circus director, in Richard O’Monroy’s one-act comedy, ''On demande un homme fort'' (&amp;quot;Strongman Wanted&amp;quot;). That same year, he had married the comic singer Thérésa (née Emma Valladon, 1837-1913), who suggested that he change his name to the hammier Donval, made of the inverted first and last syllabi of her legal name (Valladon). &lt;br /&gt;
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Although he worked regularly, Donval’s career as an actor was a little lackluster, but, blessed by a good business sense, he organized theatrical tours and then took over the management of the ''Alcazar d’Hiver'', a famous Parisian &amp;quot;café concert,&amp;quot; most probably with his wife’s help: She was the Alcazar’s main drawing card. Nicknamed &amp;quot;La diva du caf’ conc’,&amp;quot; Thérésa became France’s first true international superstar (before Sarah Bernhardt and Yvette Guilbert); Donval organized for her international tours that took her as far as St. Petersburg in Russia. Thérésa won quite a fortune and retired in 1893. She divorced Donval three years later.  &lt;br /&gt;
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[[File:Geronimo_Medrano.jpg|thumb|left|300px|Geronimo Medrano (c.1885)]]In the summertime, Raoul Donval managed the Casino of Saint-Valery-en-Caux, a small seaside resort on the cost of Normandy. Donval had been recommended by Edmond Blanc, a horse breeder and politician, and his brother Camille, who was the owner of the Casino of Monte Carlo (created by their father, François Blanc); the Blancs were part of Oller’s business circle and probably shareholders of the Nouveau Cirque. Raoul Donval was already familiar with the Parisian circus, for which he had written ''La Grenouillère'', and he was used to dealing with circus and variety artists; to the Blanc brothers, his successful tenure at the helm of the casino of Saint-Valery-en-Caux was a plus that appealed to them: He had the perfect credentials for the job! Donval left the management of the Alcazar to his wife and moved rue Saint-Honoré.&lt;br /&gt;
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One month before Donval’s arrival, [[Geronimo Medrano]], the Cirque Fernando’s star clown and its ''Régisseur Général'', had left the circus that had made him famous (Fernando was in dire financial troubles) to join the Nouveau Cirque’s company. Medrano was popular among performers and had amply proven his competence as Fernando’s ''régisseur''; Donval gave him Léopold Loyal’s former position: In bad health, Loyal had decided to retire; he would die a few months later, on December 19, 1889. His son [[Paul Loyal|Paul]] succeeded him as Equestrian Director, and it seems that Henri Agoust left the Nouveau Cirque at that time. &lt;br /&gt;
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Although Medrano had been an acrobat and aerialist and was indeed quite competent with horses, the Nouveau Cirque’s clowns saw the fact that he was one of them as a boon. Furthermore, they had a strong ally in the person of Donval himself, a bon vivant with a healthy sense of humor, who was interested in clown comedy: In 1896, he would publish a precious little book, ''Pantomimes du Vieux Cirque'', a repertory of comic scenes and clown entrées that had been performed in the old [[Cirque Olympique (Paris)|Cirque Olympique]] on the Boulevard du Temple. Under Donval’s reign, clowns such as [[Pierantoni &amp;amp; Saltamontes]], Medrano and, most importantly, [[Foottit et Chocolat|Foottit and Chocolat]], will become the Nouveau Cirque’s main drawing cards&amp;amp;mdash;along with the water basin into which they occasionally fell, that is.&lt;br /&gt;
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===Paris au Galop===&lt;br /&gt;
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[[File:NC_Paris_au_Galop.jpg|thumb|right|300px|Poster for ''Paris au Galop'' (1889)]]To take full advantage of the flood of tourists that were expected to visit the ''Exposition Universelle'', known as the &amp;quot;Expo,&amp;quot; Donval kept the circus open for the summer and added a few matinees on its schedule. He also had two rows of seats installed on the periphery of the ''promenoir'', which became the ''balcon'' (balcony) and increased the house seating capacity to 1,170 seats. Expo aside, such changes made the circus more profitable.&lt;br /&gt;
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The theme of the Parisian Expo was the extraordinary accomplishments of the new industrial age&amp;amp;mdash;spectacularly illustrated by Gustave Eiffel’s stupendous 300-meter tower. With its amazing sinking ring and its revolutionary technology, the Nouveau Cirque perfectly fitted the picture&amp;amp;mdash;not to mention that it also provided good entertainment. Donval reprised the Nouveau Cirque’s first success, ''La Grenouillère'', his own water pantomime, which was to remain his circus’s main attraction (and provided him with royalties) until the end of the Expo, which closed on October 31. &lt;br /&gt;
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In a mere six months, the Expo had catered to more than 32,000,000 visitors, many of whom had come from the French provinces and foreign countries. Paris had enjoyed a summer of celebration and fun that, suddenly, had come to a halt! After their initial hangover, Parisians began to suffer from Expo withdrawal. Donval, feeling the pulse of the city, asked two well-known librettists, Surtac and Alévy (Gabriel Astruc, 1864-1938, and Armand Lévy, 1859-1935) to write a revue for the Nouveau Cirque that would reflect on the main events of the year&amp;amp;mdash;which was the original purpose of revues, before they slowly morphed into meaningless extravaganzas in the twentieth century. &lt;br /&gt;
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Surtac and Alévy had scored a hit at the Cirque Fernando at the beginning of the year with a revue they had written for Geronimo Medrano, ''En selle pour la revue''&amp;amp;mdash;and it is probably Medrano who, as its ''Régisseur Général'', was actually at the origin of the Nouveau Cirque’s revue: Until Fernando’s ''En selle pour la revue'', which had been written and produced at Medrano’s request, revues had been exclusively a stage affair. ''Paris au Galop'' opened at the Nouveau Cirque on November 13, 1889. It was a ''revue équestre et nautique'' (equestrian and nautical revue) which was staged between the four pillars of an Eiffel Tower made out of an elaborate web of ropes&lt;br /&gt;
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[[File:Deyerling_Lions.jpg|left|400px|thumb|Eduard Deyerling at the Nouveau Cirque (1890)]]''Paris au Galop'' was yet another triumph, praised by the critics and loved by the audience; it perfectly spoke to the Parisians’ nostalgia of their defunct Expo. In December 1889, the famous theater critic Jules Lemaître noted in his ''Impressions de Théâtre'': &amp;quot;Such is the mysterious superiority of the reflect of the moon and the memories of love over love and the moon themselves and of the feigned image over reality, &amp;amp;mdash; when the floor let the water come through an sank little by little; when the fragile tower of the Nouveau-Cirque began to glare in the red aura of Bengal lights; when finally a beam of colored light came down from the cupola on the meagre water squirt in the center to replicate the 'fontaines lumineuses' [illuminated fountains], we all saw again the spectacles of this summer and I believe we were happier and more dazzled than we had ever been during the most fantastic evenings of the Champs-de-Mars.&amp;quot;&lt;br /&gt;
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Yet, pantomimes and revues were not the only things that brought the audience to the Nouveau Cirque. For instance, the lions (and a Great Dane) of [[The Hagenbeck Dynasty|Carl Hagenbeck]] presented by Darling (whose real name was [[Eduard Deyerling]]) were featured in the same program as ''Paris au Galop'', to which they were an added sensation. Darling’s lions would return several times to the Nouveau Cirque. They were presented in a very ornate cage that was fixed on the ring’s ''banquette'' (ring curb), with two large grille-panels that opened at the ring entrance and protected the spectators on each side while allowing the lions to enter through the curtain (as they often do, today, in the Russian circus); the panels also allowed to bring in the Roman chariot on which Darling rode, pulled by his lions. All that was spectacular, but the artists who appeared in the same part of the program as Darling had to perform in a cage…&lt;br /&gt;
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===Foottit &amp;amp; Chocolat===&lt;br /&gt;
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[[File:Nouveau_Cirque_-_A_la_cravache.jpg|thumb|right|300px|Poster for ''A la  Cravache'' (1890)]]Its clowns also amply contributed to the Nouveau Cirque’s success: George Foottit, Tony Grice, &amp;quot;Boum-Boum&amp;quot; Medrano, [[Pierantoni et Saltmontes|Alexandre Pierantoni]] and his partner, the Spanish clown [[Pierantoni et Slatamontes|Saltamontes]] and, of course, Chocolat, among others. Foottit, who was, like everyone else, aware of Chocolat’s potential had asked Donval to hire him independently of Tony Grice, of whom Chocolat had been the assistant in the ring and the servant in private life. Hence, Chocolat truly became a free man and a clown in his own right. As he had done before, he appeared as a partner to other clowns, among whom Pierantoni, Medrano and Foottit. He would eventually write clown history with Foottit, but this history had already begun at the Nouveau Cirque with another clown duet, Pierantoni and Saltamontes.&lt;br /&gt;
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Pierantoni and Saltmaontes, who had never worked together before their engagement at the Nouveau Cirque, had been suggested to Raoul Donval by [[Félix Gontard]], the first French &amp;quot;auguste,&amp;quot; who had seen them work, independently of each other, in Portugal. Pierantoni and Saltamontes began to work occasionally together rue Saint-Honoré, as it was the custom with clowns, but their partnership generated a special chemistry the audience loved: They perfectly complemented each other. Encouraged by Donval and Medrano, they eventually went on to form a distinctive clown duet and create their own repertoire, the first clowns ever to do so&amp;amp;mdash;as surprising as it may seem today (at least to an European audience). &lt;br /&gt;
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Then, in December 1890, the Nouveau Cirque presented another revue by Surtac and Alévy, ''À la Cravache'' (&amp;quot;At The Whip&amp;quot;) in which Foottit made the headlines. The great tragedienne Sarah Bernhardt was playing ''Cléopâtre'' (Cleopatra) in Victorien Sardou’s eponymous play; as usual, she obtained an immense success, but her then-conventional and much admired overacting invited easy parody&amp;amp;mdash;especially the tragic grandiloquence of Cleopatra’s lengthy death scene&amp;amp;mdash;and Foottit jumped at the opportunity. His parody was hilarious: Foottit’s Sarah-Cleopatra, replete with opulent red mane, bejeweled dress, and her fatal rubber snake, died endlessly before finally resurrecting. Foottit's piece, in which Chocolat played a slave and Saltamontes was Mark Antony, quickly became the talk of the town.&lt;br /&gt;
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[[File:NC_Fottit_et_Chocolat.jpg|thumb|300px|left|Poster for Foottit &amp;amp; Chocolat (1895)]]The tragedienne’s coterie was outraged&amp;amp;mdash;notably her author, Victorien Sardou&amp;amp;mdash;which turned Foottit’s parody into a mini Parisian scandal. Eventually, Bernhardt decided to judge by herself, and went to see Foottit perform. In every respect the diva, she and her entourage made a grand entrance that practically stopped the show just a few moments before Foottit’s turn. As Foottit entered the ring, the house froze when Madame Sarah bellowed out a peremptory &amp;quot;Clown, fais-moi rire!&amp;quot; (&amp;quot;Clown, make me laugh!&amp;quot;), which would have been enough to paralyze any comedian, regardless of his talent. Yet Foottit didn’t flinch and went on with his lampoon, and Madame Sarah laughed heartily. Not only the scandal melted away, but it had been excellent publicity for the Nouveau Cirque.&lt;br /&gt;
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It is around that time that Foottit began to work regularly with Chocolat (although Chocolat will continue working occasionally with other partners). There was indeed an exceptional chemistry between them, albeit different from that of Pierantoni and Salamontes: Whereas the latter exhibited a friendly and warm rapport in the ring, Foottit and Chocolat had an antagonistic relationship, in which Foottit was an authoritarian boss to the hapless Chocolat&amp;amp;mdash;although, as Louis Lumière’s early films of the duo demonstrate, either one could be duped by the other.&lt;br /&gt;
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What was especially interesting, however, is that the duet's characters were clearly defined: Foottit, a whiteface clown donning the customary costume that came from the medieval jester tradition, was the leader of the duet; Chocolat was an &amp;quot;auguste,&amp;quot; an everyday man without the skills and artificial trappings of the clown, and whose humor derived from his difficulty to adapt to the society’s established foibles. The duo’s characters and roles were well delineated by their rapport in the ring as well as their physical appearances. The contrast of a white face and a black one added to the distinction.&lt;br /&gt;
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Foottit and Chocolat had originated the traditional duo formed by a clown and an auguste, which will be emulated afterwards by countless duos of the same type. But their considerable success also came from the sketches they presented. These were for the most part old clown entrées that had been performed for times immemorial&amp;amp;mdash;but since Chocolat was too unruly to be trusted in improvised pieces, Foottit gave these entrées a solid structure, with a beginning, a middle and an end to which the partners had to stick. In the process, these entrées became much better pieces of comedy, gaining a coherent logic of their own and adapted to the personalities of the clowns who played them. Foottit &amp;amp; Chocolat had redefined modern clown comedy.&lt;br /&gt;
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===Donval’s Circus Stars===&lt;br /&gt;
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[[File:NC_Isabelle_Chinon.jpg|thumb|300px|right|Poster for Isabelle Chinon (c.1890)]]The Nouveau Cirque’s audiences couldn’t tire of watching Foottit &amp;amp; Chocolat performing together: They quickly became the toast of Paris&amp;amp;mdash;especially Chocolat, who had joined the bohemian crowd of Montmartre and was immortalized by Toulouse-Lautrec. But they were not the only stars that appeared at the Nouveau Cirque outside of its pantomimes and revues. The original nucleus of the Nouveau Cirque’s audience had been largely formed by Oller’s acquaintances from the racing world, including the members of the Jockey Club, who had a great interest in horsemanship in all its facets. As a matter of fact, everybody at the time had a vested interest in horses, which were still indispensable to daily life, from agriculture to transport, war to leisure. And to see horses at their best, one went to the circus. The Nouveau Cirque, like, before it, the venerable Cirque des Champs-Élysées, was the true horse aficionados’ rendezvous of choice.&lt;br /&gt;
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Under Donval’s tenure, some of the equestrian arts’ greatest names were featured at the Nouveau Cirque: The superb Elvira Guerra; the stunning [[Jenny de Rahden|Baronne de Rahden]], whose horse left the ring walking &amp;quot;en cabrade&amp;quot; on his hind legs with the Baroness, riding sidesaddle, lying head down on her horse’s croup (originated by Jenny de Rahden, this &amp;quot;cabré renversé&amp;quot; became, years later, [[Paulina Schumann]]’s trademark); [[Isabelle Chinon]], one of the rare women to ride in haute-école sitting astride her horse, like her male counterparts; the incomparable [[James Fillis]], who had just authored the horseman’s new bible, ''Principes de dressage et d’équitation'' (1890), and attracted cavalry officers en masse rue Saint-Honoré; and the extremely talented and fearless equestrienne [[Blanche Allarty]], the pupil and protégée of the master horseman [[Ernest Molier]], whose famous &amp;quot;Cirque d’amateurs&amp;quot; (amateur circus) in his Parisian mansion’s courtyard, rue de Bénouville, drew the same fancy crowd as the Nouveau Cirque.&lt;br /&gt;
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There were also major stars from other circus disciplines: The famous jugglers [[Severus Schaeffer]], who spiced his act with acrobatics, and [[Paul Cinquevalli]], the first true international juggling star; the [[Ancillotti Toupe]], &amp;quot;Premiers vélocipédistes du monde,&amp;quot;  performing extraordinary acrobatic and balancing exercises on their penny-farthings and unicycles; [[Edmond Rainat]], indisputably the greatest specialist of the bar-to-bar flying trapeze (without catcher) and his partners, and, in the same specialty, the troupe of [[Raoul Monbar]], Rainat’s main competition; [[Miss Athleta]] (Maria van Huffelen), the amazing Belgian woman who could bring any strongman to shame; the Romanian troupes [[Popescu Troupe|Popescu]] and [[Luppu Troupe|Luppu]] in their thrilling acrobatics on the horizontal bars&amp;amp;mdash;among scores of other top talents.&lt;br /&gt;
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===Donval’s Revues and Pantomimes===&lt;br /&gt;
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Yet, pantomimes and revues remained the Nouveau Cirque’s chief drawing card, and a long string of them, old and new, were produced under Donval’s management&amp;amp;mdash;most of them written by well-known authors and librettists. One particularly distinguished itself: it featured the famous &amp;quot;diseuse&amp;quot; Yvette Guilbert (1865-1944), the great star of the variety stage (and one of Toulouse-Lautrec’s favorite subjects), who played the part of &amp;quot;La chanteuse&amp;quot; in ''Garden-Party ''(1891), a humoristic piece written by the novelist Pierre Delcourt (1852-1931) and the librettist Victor Meuzy, with music by the Nouveau Cirque’s prolific musical director, Laurent Grillet. Guilbert was a hot ticket, and she packed the house.[[File:NC_Garden_Party.jpg|thumb|280px|left|Poster for ''Garden Party'' featuring Yvette Guilbert (1891)]]&lt;br /&gt;
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1891 also saw ''Gribouille'', a &amp;quot;pantomime villageoise à grand spectacle&amp;quot; by Bid and Talbert, and ''Le Roi Dagobert'' (&amp;quot;King Dagobert,&amp;quot;), which included a spectacular deer hunting scene which ended, as expected, into the swimming pool. (King Dagobert is mostly remembered in French folklore for being so distracted that he put his trousers the wrong way around…) Surtac and Alévy returned in January 1892 with a new revue, ''À fond de train'' (&amp;quot;At Full Speed&amp;quot;), which featured parodies by the Nouveau Cirque’s star clowns, many horses, the water basin, and a bevy of pretty girls. ''Don Quichotte'' (Don Quixote&amp;quot;), a &amp;quot;Bouffonnerie équestre à grand spectacle&amp;quot; (&amp;quot;Equestrian buffoonery spectacular&amp;quot;) followed, before a reprise of ''Le Roi Dagobert'', which ended the season.&lt;br /&gt;
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In October 1892, the new season began with a reprise of ''Gribouille'' before the presentation of Raoul Donval’s latest opus, a &amp;quot;fantaisie japonaise et nautique à grand spectacle&amp;quot; (&amp;quot;Japanese and nautical fantasy spectacular&amp;quot;) in two tableaus with a musical score by Laurent Grillet, titled ''Papa Chrysanthème''&amp;amp;mdash;which was a parody of Pierre Loti’s 1887 stereotypical novel, ''Madame Chrysanthème''. Instead of a big splash into the water basin, the second tableau featured a &amp;quot;waterlilies ballet&amp;quot; with a group of eye-catching naiads. ''Papa Chrysanthème'' ran well into 1893.&lt;br /&gt;
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In April, Foottit was the hero of the &amp;quot;pantomime à grand spectacle&amp;quot; ''Pierrot Soldat'', a classic pantomime revisited for the occasion, in which Pierrot is an unfortunate conscript trying to adapt to military life, where his superiors’ orders, when taken literally, result in hilarious situations. It was an elongated version of what would later become a classic clown entrée, ''Le service militaire'' (The Military Service).&lt;br /&gt;
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The last offering of the 1892-93 season was a &amp;quot;folie nautique&amp;quot; (nautical folly) titled ''La Rosière de Charenton''. (A ''rosière'' is a village maiden singled out and celebrated for her chastity, usually on the occasion of a fair or a festival; as for Charenton, it is a small Paris borough on the rivers Seine and Marne.) Foottit played an English journalist, and Chocolat was &amp;quot;a prince of Dahomey&amp;quot; mistaken for a servant; there was a lot of water frolics and, at the end, Chocolat had his revenge by destroying the podium on which stood the ''rosière'' and the officials, thus making everybody plunge into the water…&lt;br /&gt;
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The season 1893-94 opened with ''Le Yacht de Monsieur Durand'', which couldn’t even make it across the Nouveau Cirque’s water basin: It sank every night joyously and spectacularly! Émile Blavet, the chronicler of the Parisian daily ''Le Figaro'', who signed his reviews &amp;quot;Un Monsieur du Balcon,&amp;quot; (&amp;quot;A Balcony Gentleman&amp;quot;) noted that such pantomimes &amp;quot;do not pretend to make us think, they are content with making us laugh. And here lies the secret of the continual success of Mr. Donval’s pantomimes…&amp;quot; Mr. Durand and his yacht sank at each performance, causing great hilarity in the audience, until ''Boule de Siam'', a lavish &amp;quot;pantomime à grand spectacle&amp;quot; succeeded it in January 1894.[[File:MNC_Boule_de_Siam.jpg|thumb|300px|right|Poster for ''Boule de Siam'' (1894)]]&lt;br /&gt;
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Titled after Guy de Maupassant's short story ''Boule de Suif'' (1880), but with no other connection with it whatsoever, it was a spectacular exotic affair, with sensuous bayaderes, snake charmers, intrepid explorers and Lockhart’s elephants, who played musical instruments. Foottit was an English explorer who, at some point, was decapitated by a snake (an old clown illusion), to which his colleague remarked, &amp;quot;It’s alright, it has happened to me several times!&amp;quot; Chocolat was the hero of the farce, unable to marry the girl he loved because of the color of her skin (white…). Eventually, the explorers solved the problem by whitening Chocolat with an &amp;quot;American process&amp;quot;&amp;amp;mdash;as opposed to the contrary, colonial racism obliging! Indeed, Donval didn’t pretend to make us think…&lt;br /&gt;
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In March 1894, le Nouveau Cirque once again presented a pantomime built around a café-concert star&amp;amp;mdash;this time the very popular London-born singer Harry Fragson (1869-1913). It was ''L’agence Bidard'' (&amp;quot;The Bidard Agency&amp;quot;), which was pretext to a staged audition of talents, performed by either pretty girls or the clowns&amp;amp;mdash;with Chocolat, wearing a dress embroidered with faux pearls and diamonds, giving a hilarious impersonation of Caroline Otéro, known as &amp;quot;La Belle Oréro&amp;quot; (1868-1965), the notorious dancer, actress, and courtesan to the kings. Of course, Fragson was the last to &amp;quot;audition&amp;quot; and had his usual success. It was a dry pantomime, but Fragson alone attracted a large audience.&lt;br /&gt;
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''Le Moulin du Gué'' (&amp;quot;The Ford by The Mill&amp;quot;), the &amp;quot;folie nautique&amp;quot; (nautical folly) that followed, was an extended version of the classic clown entrée &amp;quot;The Military Service.&amp;quot; At the end of the piece, recalcitrant soldiers tried to escape and were chased by their sergeant and his men; eventually, as they were trying to cross a river through a slippery ford, all of them fell into the water… It was probably not the best of the Nouveau Cirque pantomimes, but it enjoyed a visit by the Prince of Wales (soon to be Edward VII), who certainly would have preferred to watch  Chocolat’s impersonation of Otero: She was, it was rumored, one of his &amp;quot;acquaintances!&amp;quot; The season ended with a reprise of the old stalwart, ''La Noce de Chocolat''.&lt;br /&gt;
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===Change of Scenery===&lt;br /&gt;
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[[File:Hippodrome_de_l'Alma_Races.png|thumb|400px|left|The Hippodrome de l'Alma (c.1880)]]Meanwhile, the Parisian circus scene was beginning to change. Paris’s oldest circus, the Cirque des Champs-Élysées (open in 1843), also known as Cirque d’Été, had lost a good part of its horse-loving clientele to the Nouveau Cirque, and the building’s old age had become all too apparent. Open only during the summer (the Cirque d’Hiver was its winter counterpart), during which it was in competition with the mighty Hippodrome de l’Alma, it had become increasingly obsolete and would close its doors in 1899. In Montmartre, Louis Fernando’s financial situation had gone from bad to worse and, in 1897, he would leave his circus, the building of which already belonged to his creditors. (It was to be rescued by none other than Geronimo Medrano.)&lt;br /&gt;
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But before that, the huge, state-of-the-art Hippodrome de l’Alma (it had, among other amenities, a glass roof that could slide open), home to popular equestrian extravaganzas and spectacular pantomimes, had lost its land lease and, despite continued success since its opening in 1877, it was forced to give its last performance on November 1st, 1892. Located avenue de l’Alma in an up-and-coming area, it was demolished to allow a lucrative real estate development. The entrepreneurial Donval saw in the Hippodrome’s demise an interesting opportunity.&lt;br /&gt;
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He and a group of investors decided to erect a new hippodrome, to be named the [[Hippodrome du Champ de Mars|Cirque-Hippodrome du Champ de Mars]], in the former Palais des Beaux-Arts, a leftover of the 1889 Exposition Universelle that was not in use anymore. The new Hippodrome opened to great acclaim in July 1894. Like the previous Hippodrome, it was active only during the summer season, and would become the summer residence of the Nouveau Cirque’s company. Geronimo Medrano was appointed as its director.&lt;br /&gt;
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[[File:Hippodrome_Champd_de_Mars_-_Favereau.jpg|thumb|350px|right|Ad for the Hippodrome du Champ de Mars (1894)]]Meanwhile, the Nouveau Cirque continued its successful series of pantomimes, and reopened at the end of September 1894 with reprises of Donval’s ''Papa Chrysanthème'' and, in November, ''Le Yacht de Monsieur Durand''. Finally, at the end of November, came ''Pirouettes-Revue'', the traditional end-of-the year revue, which was, noted the weekly ''La Jeune Garde'', not so much a revue as a succession of tableaus in which, &amp;quot;amongst the clowns’ frolics, dainty lady dancers came and went, sometimes as bicyclists, sometimes as toreadors, sometimes as wrestlers complacently undressed in pink leotards…&amp;quot; Foottit was the revue’s ''compère'' (Master of Ceremonies); it was a joyous revue, full of action and pretty girls, but quite forgettable.&lt;br /&gt;
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''America'', however, a &amp;quot;bouffonnerie exotique&amp;quot; (exotic buffoonery) that opened on January 12, 1895, was one of these water pantomimes that made Parisians rush to the Nouveau Cirque. Set in the American West (thus its &amp;quot;exoticism&amp;quot;), it culminated in the spectacular vision of a train, replete with its steam locomotive and baggage wagon, crossing a bridge that gave way under its weight, precipitating it, its passengers and their luggage into the water! A joyous collective bath followed, in which participated clumsy rescuers. This was the kind of pantomime Cocteau must have remembered when he said that &amp;quot;No trick, no gag of the cinematograph will ever replace this wonder&amp;quot;&amp;amp;mdash;for, at the time, the cinematograph as a spectacle didn’t even exist: the first public performance of a movie by the Lumière brothers would occur that same year at the Grand Café in Paris, on the 28th of October!&lt;br /&gt;
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''La Reine de Bercy'', which followed in April, reprised the theme of ''La Rosière de Charenton'', but without the racist undertones Chocolat’s role had implied in the latter pantomime. ''La Reine de Bercy'' (Bercy is a Paris neighborhood on the Seine river) was about the festivities surrounding the crowning of Bercy’s ''rosière''. It ended with a competition in which young men had to climb a greasy pole erected in the middle of the pool; they reached it with a dinky, unstable embarkation and as they were climbing up, the pole began to sway while fireworks started accidentally; panic ensued and everybody fell into the water… The season ended with a reprise of ''Pierrot Soldat'', Foottit’s old warhorse, with a scenery designed by Caran d’Ache.&lt;br /&gt;
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[[File:NC_Coco.jpg|thumb|left|300px|Poster for ''Coco'' (1896)]]The caricaturist and satirist Caran d’Ache (1858-1909) was born Emmanuel Poiré in Moscow, in a French family established in Russia; he emigrated to France when he was nineteen, and adopted the professional pen-name of Caran d’Ache, from the Russian word ''Карандаш'' (karandash), which means pencil. A member of the [[Cirque Molier]]’s crowd, Caran d’Ache came up with his own water pantomime, ''La Petite Plage'' (&amp;quot;The Little Beach&amp;quot;), written with the actor and sometimes playwright Arnold-Jules Fordyce. Starring Chocolat as a bandleader and Foottit as a banjo player, it opened the 1895-96 season. As its title implied, it was a perfect vehicle for water gambols and featured pretty naiads who were suddenly disturbed by a seal in their midst. Clumsy gendarmes came to the rescue, and after chases in all directions and an avalanche of gags, it all ended in a big splash.&lt;br /&gt;
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Caran d’Ache and Fordyce reiterated in November 1895 with a &amp;quot;dry&amp;quot; pantomime, ''Paris-Parade'', which was an ode to the &amp;quot;Cirque romantique.&amp;quot; It featured Foottit &amp;amp; Chocolat, and an interesting aerial ballet in which a swarm of pretty girls dressed as angels impersonated the clappers of hanging bells. Then, on January 31, 1896, the Nouveau Cirque presented another &amp;quot;dry&amp;quot; pantomime, ''Coco''. Coco was Chocolat, playing an exotic animal keeper at Paris’s ''Jardin d’acclimatation'', which was then a mixture of zoological and ethnological park exhibiting the human, animal and botanic curiosities of the French colonies. (Today a children amusement park, the Jardin d’acclimatation is located in the Bois de Boulogne).&lt;br /&gt;
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It is interesting to note that as Chocolat appeared in ''Coco'' and other pantomimes of the same type, the word ''raciste'' appeared in the French vocabulary (1894), followed by the concept of racism (1902)&amp;amp;mdash;for once again, the poor Chocolat (Coco) was the victim of mistaken identity with racist undertones: Trying to leave (or to escape) the Jardin d’acclimatation by night, he was mistaken for a monkey… Then, two wedding parties brought their share of confusion, into which Coco participated, and a chase ensued with its loads of visual gags. But it was also an opportunity to show exotic animals (an elephant, a camel, an ostrich...) and ''Coco'' ran until the end of March 1896. (The triumphant colonialism of the turn-of-the-twentieth century would soon bring traveling menageries into the European circus’s fold.)&lt;br /&gt;
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===Donval’s Final Years===&lt;br /&gt;
[[File:NC_Paris-Pekin.jpg|thumb|300px|right|Poster for ''Paris-Pékin'' (1896)]]In a move to make the Nouveau Cirque ever more profitable, Donval had instituted the &amp;quot;Cabaret du Chien Noir&amp;quot; (inspired by Rodolphe Salis’s famous &amp;quot;Cabaret du Chat Noir&amp;quot;), which performed every night at 9:30 pm in the Nouveau Cirque’s second-floor foyer. Like its model in Montmartre, it featured ''chansonniers'' (singers who wrote their own songs, words and music, often of a topical nature), and spectators sat at tables to sip drinks&amp;amp;mdash;the cabaret’s primary source of income. It was designed to attract spectators independently from the circus, but circus patrons could indeed join after the show.&lt;br /&gt;
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The Nouveau Cirque continued nonetheless to present remarkable acts and successful pantomimes. ''L’île des Bossus'' (&amp;quot;The Hunchbacks’ Island&amp;quot;), which followed ''Coco'' at the end of March 1896, starred Foottit as Pierrot, and Chocolat as his sidekick, who landed on an island where hunchbacks were the norm and despised the &amp;quot;flat backs.&amp;quot; Sentenced to death, the &amp;quot;flat back&amp;quot; Pierrot-Foottit was saved by the King’s daughter, who happened to be a &amp;quot;flat back&amp;quot; herself. For some reason, the all affair ended with a fight among sailors standing in their little boats, and everybody fell into the water…&lt;br /&gt;
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The company then moved to the Hippodrome du Champs de Mars for the summer season, and the Nouveau Cirque reopened at the end of September 1896 with ''Paris-Pékin'', a new “bouffonnerie nautique” in three acts, in which travelers embarked on a train that took them in a flash to Pekin (today’s Beijing)! There, they were entertained by a group of pretty &amp;quot;Chinese&amp;quot; girls performing exotic dances to &amp;quot;oriental&amp;quot; music written by the ever-prolific Laurent Grillet. The last tableau, according to the musical journal ''Le Ménestrel'' of September 27, 1896, was &amp;quot;a very successful apotheose, with lotus leaves emerging from the water and allowing very plastic young creatures to blossom in languid poses.&amp;quot; The reviewer, however, was mostly impressed by the &amp;quot;priceless Foottit maneuvering his pack of kids&amp;quot; in the show preceding the pantomime, and the Risley act of the [[Kellino Family]].&lt;br /&gt;
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After a short-lived reprise of ''La Rosière de Charenton'', the year ended with a &amp;quot;pantomime paysanne&amp;quot; (peasant pantomime), ''Le feu au moulin'' (&amp;quot;Fire in The Mill&amp;quot;), which was a widely expanded version of the clown piece known as &amp;quot;The house on fire.&amp;quot; The watermill was set at the center of the water basin, Chocolat was the miller and Foottit was the Chief of a company of hapless firemen. Eventually, everybody tried to extinguish the fire, including a group of frogs (i.e. pretty girls in green tights)! Needless to say, it was a good opportunity for a grand collective bath.&lt;br /&gt;
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[[File:NC_Les_100_Kilos.jpg|thumb|300px|left|''Les 100 Kilos'' (1897)]]When 1897 began, ''Le feu au Moulin'' was still going strong. Nobody suspected it yet, but this was going to be Raoul Donval’s and Geronimo Medrano’s last year at the helm of the Nouveau Cirque. After ''Pierrot aux Enfers'', which opened on February 12 with Foottit as Pierrot in a pantomime inspired by the legend of Faust, Raoul Donval presented the last pantomime he would author, ''Les 100 kilos'', a &amp;quot;bouffonnerie nautique&amp;quot; that opened on April 16. It was inspired by an association that actually existed in Paris, ''Le Club des Cent Kilos'' (The 100-Kilo Club), the potential members of which were required to weigh at least 100 kilos (220 lbs.) to be accepted!&lt;br /&gt;
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Foottit &amp;amp; Chocolat were the inept waiters of a waterside restaurant where the hefty members of the 100 Kilos club had their annual meeting&amp;amp;mdash;during which they honored their weightiest colleague. There was an &amp;quot;aerial tramway&amp;quot; to transport the customers to the restaurant over the water, in the form of a simple cable with a sliding trapeze from which they had to hang, providing a cheap load of plunges and gags. Cheaters in the weighing competition were also thrown into the water&amp;amp;mdash;and the most successful gag was the sight of the huge 100-kilo counterweight used on the scale floating gently in the pool after having been overthrown into the water by the weight of a particularly heavy customer… As usual, the music was written by Laurent Grillet.&lt;br /&gt;
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That was Raoul Donval’s farewell opus: In poor health, he decided to leave the Nouveau Cirque at the end of the season. He also left the Hippodrome du Champs de Mars&amp;amp;mdash;but the Palais des Beaux-Arts, where it was housed, was slated anyway for demolition in 1898, to make room for the upcoming Exposition Universelle of 1900. Sadly, Raoul Donval died soon after, on March 14, 1898 in his apartment at 247 rue Saint-Honoré, just two doors away from the Nouveau Cirque; he was only forty-six. That evening, the Nouveau Cirque remained dark. Donval’s passing not only marked the end of an era for the Nouveau Cirque, but it also coincided with the end of an era for the circus in Paris.&lt;br /&gt;
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==Hippolyte Houcke's Nouveau Cirque==&lt;br /&gt;
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[[File:Hippolite_Houcke_-_Garnier.jpg|thumb|right|250ps|Hippolyte Houcke (1889)]]Donval’s appointed successor was the brilliant circus director [[The Houcke Dynasty|Hippolyte Houcke]] (1852-1925), who had successfully managed the now-defunct Hippodrome de l’Alma. The son of [[The Houcke Dynasty|Jean Léonard Houcke]] (1816-1877), who had once been the ''régisseur'' of the Cirque des Champs-Élysées, he belonged to a great French circus dynasty that had settled in Sweden and had been instrumental in the development of the Scandinavian circus&amp;amp;mdash;and would also leave its mark on Paris’s circus history. Hyppolite Houcke, who was well-known to Parisian circus aficionados, was a welcome addition to the Nouveau Cirque.&lt;br /&gt;
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By December, however, the Nouveau Cirque had also lost its regisseur, Geronimo Medrano: In late October, Louis Fernando, the Cirque Fernando’s director, unable to pay rent to his building’s owner, had staged a moonlight flit. On the 25th, it was announced that the entire property, land and walls, would be auctioned off. Apparently, the sale was completed in November, and the new owners put the circus for rent. Geronimo Medrano couldn’t see the circus that had made him famous disappear: He quickly gathered the necessary capital and, in December, became the building’s new lessee. The fabled [[Cirque Medrano (Paris)|Cirque Medrano]] was born; it was to become the Nouveau Cirque’s main competition.&lt;br /&gt;
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On September 17, 1897, the Nouveau Cirque reopened its doors for the 1897-98 season. Hippolyte Houcke prudently reprised ''Les Cents Kilos'', whose success was already well established. Then, in November, he offered his management’s first original pantomime, ''Au Texas'', which brought back the American &amp;quot;exoticism&amp;quot; of its precursor, ''America'', with the sensational addition of diving horses, a popular, albeit questionable attraction in the United States, which was beginning to make its way in Europe (and the presentation of which the Nouveau Cirque, with its deep swimming pool, and now Berlin's [[Circus Busch]], were the only circuses able to accommodate at the time).[[File:NC_Les_chevaux_plongeurs.jpg|thumb|left|300px|Poster for the &amp;quot;Diving Horses&amp;quot; (1897)]]&lt;br /&gt;
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Following ''Au Texas'', Hippolyte Houcke’s first revue, ''Paris qui Trotte'' (&amp;quot;Trotting Paris&amp;quot;), a &amp;quot;revue équestre à grand spectacle,&amp;quot; was signed by Alévy and the journalist, prolific author and songwriter Adrien Vély (Adrien Lévy, 1864-1935). The press thought &amp;quot;Paris qui trotte&amp;quot; was shallow but beautifully staged. Starring Foottit &amp;amp; Chocolat, it included a reconstitution of the state visits to the Élysée Palace of Queen Wilhelmina of The Netherlands and Russian Tsar Alexandre III, which gave the opportunity to stage parades in flamboyant costumes, and ended with a bicycle ballet (bicycles were the new craze) featuring men and women dressed in white and meandering in the ring under color-changing lights. It was a huge success.&lt;br /&gt;
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So far, so good. Yet, Hippolyte Houcke was facing a serious challenge: He will have to lead the Nouveau Cirque into the twentieth century, where acrobatic acts and the presentation of exotic and wild animals will progressively grow in importance to the detriment of the more traditional equestrian fare. The Nouveau Cirque, however, was well equipped to weather the storm: Its technical amenities had already allowed it to produce very distinctive shows that had kept it ahead of the pack. Still, the development of the automobile, which would eventually replace the horse, the emergence of the British-style Music-Hall and the advent of the cinematograph will deeply alter circus audiences’ tastes, as well as their habits.&lt;br /&gt;
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The first significant change had been a new appetite for sports and gymnastics that culminated in 1896 with the creation by the Baron Pierre de Coubertin of the Olympic Games, whose first edition had been staged in Greece. Their second edition was to be held in Paris in conjunction with the new ''Exposition Universelle'', which was to open in April 1900. To take advantage of the swarm of visitors the French capital was expected to host on this occasion, a group of entrepreneurs had decided to build a new Hippodrome on the Place Clichy, scheduled to be ready for the event.&lt;br /&gt;
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===Novelty Acts and Traditional Pantomimes===&lt;br /&gt;
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[[File:Therese_Renz_(c.1900).jpg|thumb|300px|right|Therese Renz (c.1900)]]For the time being, the Nouveau Cirque’s competition was limited to the Cirque d’Hiver, which unwaveringly maintained the old equestrian tradition dear to the Franconis, and the newly opened [[Cirque Medrano (Paris)|Cirque Medrano]], which would quickly prove a serious contender (the Cirque des Champs-Élysées was reaching the end of its life). With its lavish water pantomimes, its quality acts and its comfort and elegance, the Nouveau Cirque was still a popular place of entertainment. In April, Hippolyte Houcke offered ''La Chasse au Sanglier'' (&amp;quot;The Boar Hunt&amp;quot;), which like ''Le Roi Dagobert''’s deer hunt, ended in the water, and, to take full advantage of the new bicycle rage, Captain Wood and His Boys played polo on their bicycles, which must have amused the Jockey Club’s members who were familiar with this aristocratic sport.&lt;br /&gt;
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in September 1898, ''La Chasse au Sanglier'' was reprised for the opening of the 1998-1899 season, which was exceptionally rich in outstanding acts. The [[Meers Sisters]], Scottish bareback riders who had been (and would be again) stars of the Barnum &amp;amp; Bailey circus, made one of their multiple appearances at the Nouveau Cirque (although it is hard to know which ones of the six talented sisters were there), but the true equestrian star of the season was uncontestably the superb German high-school rider [[Therese Renz]]. Still in the horse department, [[The Schumann Dynasty|Albert Schumann]] had trained a horse to go to bed, which was a dressage sensation (revived in the twentieth century by his grandnephew and namesake Albert). As for [[Valli de Laszewski]], a Polish equestrian who was a Nouveau Cirque stalwart, he guided his high-school horse in a sulky.&lt;br /&gt;
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[[The Lorch Family]], one of the world’s greatest Risley acts, were the most spectacular acrobatic attraction of the season. In the clown department, Foottit &amp;amp; Chocolat were still the Nouveau Cirque’s unchallenged stars; they had been joined by the up-and-coming clowns [[Les Fratellini|Luigi &amp;amp; Paolo Fratellini]], whose brother [[Les Fratellini|François]] dazzled the audience with his remarkable bareback riding act and his somersaults from horse to horse. To bring some spice to the season, the seductive Theo de Midya undressed (within the limits of decency) on her trapeze while the gentlemen in the audience ajusted their monocles and curled up their moustaches.&lt;br /&gt;
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[[File:Maximilian_Elephants.jpg|thumb|left|400px|Maximilian Elephants in ''La Cascade Merveilleuse'' (1898)]]The novelty of the season was a series of water-polo exhibitions (the sport was to be included for the first time in the 1900 Olympics), but the pool was also used, needless to say, for water pantomimes. ''La Cascade Merveilleuse'' (music by Laurent Grillet) was set in Java, where a fairy-tale prince gave a &amp;quot;fête nautique&amp;quot; (nautical party) in his palace’s gardens&amp;amp;mdash;which were conveniently equipped with a basin alimented by a cascade of water. The entertainment included beautiful naiads, diving horses, and more spectacularly, Maximilian’s elephants, who also took a dive in the pool. The choreography was the work of Rosalie Pérès, whose daughters, Céline and Jeanne, presented their equestrian pas-de-deux in the same program; Jeanne, will become François Fratellini’s wife.&lt;br /&gt;
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The 1898-99 season also saw a dry pantomime titled ''Dans la montagne'', a reprise of ''Pierrot Soldat'' with Foottit, and ''À l’eau! À l’eau!'', a water pantomime whose title was a reference to the burgeoning telephone (Allo! Allo!). During the summer break, the house was repainted anew, and a ventilation system was installed in anticipation of the summer season that Hyppolite Houcke had planned for the Expo. The circus reopened in September with a reprise of ''À l’eau! À l’eau!''. The star act of this program was the beautiful high-school rider Rita del Erido (Margaretha Liebmann), a society darling who benefited from a good press coverage, although she was not in the same league as Therese Renz. (In 1906, Margaretha married the well-known journalist and novelist Henri Duvernois.)&lt;br /&gt;
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===Hail to The New Century!===&lt;br /&gt;
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[[File:Fredianis_3_men_high.jpg|thumb|280px|right|The Fredianis (c.1900)]]When January 1900 finally came, everybody in show business was preparing for the opening of the Expo on April 14, not least the owners of the Place Clichy’s new ''Hippodrome'', who expected to open in late April or early May and contacted Hippolyte Houcke to take over its management. Perhaps sensing that the place was in the hands of a group of investors with great expectations and little show business savvy, a bad combination if any, he politely declined. (The investors proved unable to find a candidate for the position in time, and Ernest Molier had to come to the rescue at the last moment on a voluntary basis.)&lt;br /&gt;
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The year started with a significant change in the Nouveau Cirque’s personnel: Laurent Grillet, who had led the Nouveau Cirque’s orchestra since the beginning and had composed music for practically all of its pantomimes, was replaced by the musical director and arranger Georges Wittmann, who had led the orchestra at the defunct Hippodrome de l’Alma. It is possible that the prolific Grillet had fallen ill: He would die in his Parisian home the following year, on November 5, 1901 at age fifty; a cellist and a leading expert in ancient musical instruments, he had just published an important study in two volumes, ''Les ancêtres du violon et du violoncelle'' (&amp;quot;Violin and Cello Ancestors&amp;quot;).&lt;br /&gt;
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Nonetheless, Hyppolite Houcke began the new year with yet another water pantomime, ''Au fond de l’eau'' (&amp;quot;At the Bottom of the Water&amp;quot;). Then, to welcome the Expo’s visitors, he staged the more exciting ''Les Indiens Sioux'', another pantomime inspired by the American West, whose main feature was the plunge of a wagon pulled by two horses into the water basin. In terms of pure horsemanship, much more exciting was the return of the great equestrienne Therese Renz. As for the all-time favorites Foottit &amp;amp; Chocolat, they offered an entrée of circumstance titled ''Les touristes'' (&amp;quot;The Tourists&amp;quot;), in which the picnic that concluded their misadventures was drenched by a shower falling from the cupola&amp;amp;mdash;to the great hilarity of the real tourists who watched them.&lt;br /&gt;
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To dazzle the Expo’s visitors, Houcke restaged ''La Chasse au Sanglier'', with its horses and a pack of fifty hounds jumping together into the water at the end. Émile Blavet had the tourists in mind when he noted in the daily ''Le Figaro'': &amp;quot;You must have seen the Nouveau Cirque if you want to say that you know all of Paris’s curiosities.&amp;quot; Then June saw the debut in Paris of the greatest equestrian act of the time, the [[The Fredianis|Fredianis]], whose sensational three-man-high column on horseback, performed by Willy, Aristodemo (who will become the great auguste [[Béby Frediani|Béby]]) and their partner and top mounter René Curet, was the talk of town. When they performed this extraordinary and dangerous feat at the end of their bareback riding act, Hippolyte Houcke insisted that Curet be protected by a safety line, and the first row of seats around the ring be evacuated.&lt;br /&gt;
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[[File:NC_La_Chasse_au_Sanglier.jpg|thumb|left|300px|Poster for la Chasse au Sanglier (1898)]]Even though the Fredianis brought throngs of circus and horse aficionados to the Nouveau Cirque, the Expo was not such a boon for the circuses in the capital; if the Nouveau Cirque and Medrano did good business (which they usually did), the Cirque d’Hiver didn’t significantly improve its declining attendance and the huge Hippodrome of the Place Clichy had a hard time filling its 5,000 seats. Then, tourists left Paris after the November 12 closing of the Expo, and Parisians didn’t provide an audience large enough to keep the Hippodrome going: Its investors had to shut it down at the end of the year. (After failed experiments as a classical one-ring circus, the building ended housing the [[Bostock Menagerie]] and its wild animal shows for a few years before finally going bankrupt in 1907.)&lt;br /&gt;
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As a matter of fact, the type of society for which the Cirque des Champs-Élysées, the Cirque d'Hiver, the Parisian &amp;quot;Hippodromes&amp;quot; and the Nouveau Cirque had been built&amp;amp;mdash;a society of practitioners of equestrian arts, from simple horse riding to the refined intricacies of haute-école&amp;amp;mdash;was slowly vanishing. Because it catered originally to a more diverse audience, in large part local and, thanks to the proximity of Montmartre, bohemian, the Cirque Fernando (and after it, Medrano) had become much more adaptable to the public mood than its more conservative competition.&lt;br /&gt;
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The Nouveau Cirque served the higher strata of the Parisian society, which its prime location, its comfort and its architectural elegance attracted easily. Yet, the generation of horse enthusiasts for which it had been built was also slowly disappearing, as would, soon, the Parisian &amp;quot;haute société,&amp;quot; (high society) which was in large part a last remnant of the Second Empire era&amp;amp;mdash;and the original backbone of the Nouveau Cirque's audience. Sensing the shift, Raoul Donval had already begun to develop family matinees during his tenure at the Nouveau Cirque, with a special attention to children&amp;amp;mdash;elegant and well-behaved children, that is...&lt;br /&gt;
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Thanks to its water basin, however, the Nouveau Cirque had been able to present extravagant spectacles that its competition couldn't match, and that was, so far, a reason for its continuous success. But these spectacles were indeed expensive to produce, and the Nouveau Cirque's relatively small house made it difficult to generate a good profit out of them. France had seen practically no inflation since the Second Empire (and even before) and will not see any until WWI, and therefore it was not possible to increase ticket prices without the risk of losing a part of the audience. The situation was sustainable for the time being but had little chance to improve; it was the Nouveau Cirque's Achilles heel.&lt;br /&gt;
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===The Twilight of A Golden Age===&lt;br /&gt;
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[[File:NC_Pont_Alexandre.jpg|thumb|right|300px|Press illustration for ''Le Pont Alexandre III'' (1901)]]As his predecessor had done after the 1889 Expo, Hippolyte Houcke began the year 1901 with a pantomime that addressed Parisians' Expo withdrawal with a revue that spoke to their summer-of-fun nostalgy, ''Le Pont Alexandre III'' (&amp;quot;The Alexandre III Bridge), a &amp;quot;grande revue merveillosodramaticodésopilante&amp;quot; (which is hard to translate: It is an assemblage of the French words for &amp;quot;marvelous,&amp;quot; &amp;quot;dramatic&amp;quot; and &amp;quot;hilarious&amp;quot;) as the caricaturist Blanchet-Magon called it in the ''Journal de La Mode''. Built to celebrate the Alliance Franco-Russe, this Art Nouveau masterpiece had been inaugurated with the Expo, and relied two of its buildings, the Grand and Petit Palais, on the right bank of the Seine, to the Esplanade des Invalides on the left bank, where part of the Expo was held (the rest was on the Champs de Mars and the Palais du Trocadéro, and on the banks of the Seine between the Alexandre III and Trocadero bridges).&lt;br /&gt;
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As usual, Foottit and Chocolat were the pantomime's stars, in which they played at some point two Japanese characters in oriental costumes! It all ended on the bridge crossing over the water basin, with a joyous celebration replete with pretty girls, fireworks and falls into the water. George Foottit, however, was beginning to envision a future away from the Nouveau Cirque; he wanted to work with his sons, Thomas, George and Harry, hoping they would hone their skills at his side and eventually succeed him; unfortunately, it was wishful thinking: none of them had his talent. Although Foottit worked with Chocolat at the Nouveau Cirque for another eight years, he took every opportunity to show his talents elsewhere, with or without his illustrious partner.&lt;br /&gt;
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Since the Nouveau Cirque had played without interruption from September 1899 to the end of June 1901, Hippolyte Houcke took advantage of the summer recess to entirely refresh the house and the machinery. It is in what looked like a brand-new Nouveau Cirque that Houcke presented in October the first pantomime of the season, ''L'Estafette'' (&amp;quot;The Dispatch Rider&amp;quot;), a &amp;quot;pantomime équestre et nautique à grand spectacle&amp;quot; with a military theme, which celebrated the completion of the conquest of the southeast-Asia's French territories of Indochina (which encompassed today's Vietnam, Laos, Cambodia and the Chinese territory of Guangzhouwan).&lt;br /&gt;
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It may not have been the light fare to which the Nouveau Cirque's audiences were accustomed, at least if one is to judge from the restrained poster designed by the very serious military painter, Maurice Mahut (1878-1929). This spectacle was replaced in December by the much more festive ''Le Petit Poucet'' (&amp;quot;Tom Thumb&amp;quot;), adapted from Charles Perrault's fairytale, with Chocolat playing an improbable Chief of Protocol to Foottit's hilarious king, and the contortionist [[Juan Salmo]] scoring a hit as a frog. For this pantomime, Basile Lemeunier (1852-1922) created sets painted on scrims that came down from the cupola and surrounded the ring&amp;amp;mdash;quite an innovative process.&lt;br /&gt;
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[[File:Barnum_and_Bailey_Paris_1901.jpg|thumb|400px|left|Barnum &amp;amp; Bailey in the Galerie des Machines (1901)]]At that time, the famous Bohemian bareback rider [[Ella Bradna]] was performing at the Nouveau Cirque: She would later become a center-ring star of the [[Barnum &amp;amp; Bailey Circus]], which, as it happened, was in Paris. The American behemoth, which was touring Europe, had taken quarters in the gigantic ''Salle des Fêtes'' of the ''Galerie des Machines'' and opened its doors on November 30; it remained in the capital until March 16, 1902. (An enormous leftover of the 1889 Expo that had also been used for the 1900 Expo, the Galerie des Machines was located on the Champ de Mars in front of the École Militaire.)&lt;br /&gt;
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Even though Parisian audiences may have had reservations about the American circus's three-ring format (and, in this case, three rings and two stages) and the fact that the colossal size of the Salle des Fêtes made the show look like a display of performing ants, it was nonetheless a major event, and Barnum &amp;amp; Bailey was a must-see that attracted Parisians like bees on honey &amp;amp;mdash;more by curiosity than anything else perhaps: Multiple rings aside, the show's format, which had been originally inspired by the Parisian ''hippodromes'', was not something entirely new&amp;amp;mdash;and neither was a large part of the acts. &lt;br /&gt;
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Be that as it may, &amp;quot;''Le Plus Grand Spectacle de la Terre''&amp;quot; (&amp;quot;The Greatest Show On Earth&amp;quot;) was a colossal exhibition and the vision of a herd of fifteen elephants entering the vast hippodrome made [[Ephraim Thompson]]'s four elephants performing at the Nouveau Cirque pale in comparison. Barnum &amp;amp; Bailey may not have been a threatening competition for the Nouveau Cirque or Medrano (Parisians went to the circus on a regular basis, not just once a year!), but it showed another facet of a new circus world, one where an important menagerie of trained exotic animals brought a sense of novelty.&lt;br /&gt;
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[[File:NC_Cake_Walk.png|thumb|300px|right|Poster for &amp;quot;The true Cake Walk&amp;quot; (1903)]]The fact is, the Nouveau Cirque's sinking ring was not a novelty anymore: Although it made it possible to offer popular water pantomimes, these, in time, had become more expected than surprising. The true novelty will come in October 1902 with the pantomime ''Les Joyeux Nègres'' (&amp;quot;The Happy Negroes&amp;quot;), inspired by the old American minstrel shows, in which Foottit and Chocolat helped demonstrating the &amp;quot;fun&amp;quot; black people were supposed to have had in the plantations of the American South. (Chocolat must have seen it from a different perspective!) Such were, of course, the conventional beliefs of the time, and ''Les Joyeux Nègres'' was just a cheerful celebration, full of gags, laughter, songs and dances.&lt;br /&gt;
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But its extraordinary success came from a single dance performed in the pantomime, the ''Cake Walk''. It was a dance developed in American minstrel shows from the &amp;quot;prize walks&amp;quot; performed at get-togethers on slave plantations. At the end of a Black dance competition at the 1876 Centennial Exposition in Philadelphia, an enormous cake was awarded to the winning couple&amp;amp;mdash;thus the name the &amp;quot;prize walk&amp;quot; would eventually take. The Cake Walk in the Nouveau Cirque's ''Les Joyeux Nègres'' was performed by the Duo Elk, specialists of the genre&amp;amp;mdash;who were actually white since American &amp;quot;minstrels&amp;quot; were white performers playing black characters. They were supported by other dancers, including the Pérès sisters. It was an immediate sensation and It took Paris by storm. &lt;br /&gt;
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''Les Joyeux Nègres'' remained on the bill until this end of the season, on June 7. The Nouveau Cirque organized several amateur Cake Walk competitions during its run, usually followed by a public ball, which were extremely popular; one was won by the young couple formed by François Fratellini and Jeanne Pérès. The Lumière brothers filmed the Duo Elk, who are thus immortalized in a silent version of their act, and Georges Méliès produced in 1903 the film ''Le Cake Walk Infernal'' (&amp;quot;The Infernal Cake Walk&amp;quot;). (The best example of the Cake Walk as it was performed by American minstrels can be seen in the 1936 MGM movie ''San Francisco''.) ''Les Joyeux Nègres'' proved to be the Nouveau Cirque's last great triumph.&lt;br /&gt;
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===Exit Hippolyte Houcke===&lt;br /&gt;
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Although ''Les Joyeux Nègres'' was an undeniable success, its exceptionally long run may have been due in part to the fact that the production of several pantomimes in one season was a serious strain on the Nouveau Cirque's finances&amp;amp;mdash;and thus on its profitability. Houcke's first spectacle of the 1903-1904 season was a revue, ''Paris-Poursuite'', which opened at the end of October and doesn't seem to have left much of an impact. It was followed just before Christmas by ''Modern Sport'' (titled as such, in English, with music written by Georges Wittmann), a pantomime that tried to replicate ''Les Joyeux Nègres'' success by introducing two new American dances, ''The Transatlantic'' and ''The Boston Ball''. &lt;br /&gt;
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[[File:Perezoffs.jpg|thumb|left|300px|The Perezoffs (c.1910)]]Like ''Les Joyeux Nègres'' the previous season, ''Modern Sport'' remained on the bill until the end of the season&amp;amp;mdash;but unlike the Cake Walk, the new dances didn't really take off, and the reviews were lukewarm. In this pantomime, Foottit was the director of an &amp;quot;American gymnasium,&amp;quot; in which Chocolat and the other clowns, dressed as women, gave comic exhibitions of tumbling, parallel bars, Roman rings, etc. Then everybody met in a high-society mansion (very richly decorated, noted the press) where the dancing occurred, before a &amp;quot;fête nautique&amp;quot; in and around the water basin in which participated a couple of ballerinas from the Paris Opéra. However, if audiences had been happy to return several times to see the Elkes dance the Cake Walk, they were not so disposed toward ''Modern Sport''.  The Nouveau Cirque was in trouble.&lt;br /&gt;
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While ''Modern Sport'' stayed put until June, the circus acts did change at regular intervals (and were still of the highest quality) and the inevitable Foottit and Chocolat still entertained the audiences with the same success&amp;amp;mdash;but that was not enough anymore. The Nouveau Cirque’s stockholders were well aware that a brand-new circus (the [[Cirque Métropole]]) was being built Avenue de la Motte-Picquet, which would bring up the number of permanent circuses in Paris to five: Competition was going to be severe and, already, the Nouveau Cirque was barely profitable.&lt;br /&gt;
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Hippolyte Houcke began the 1904-1905 season with some good acts, including the Latvian horse trainer [[Carlo Germain]] and a ten-horse liberty act, a group of leopards presented by a trainer named Emmanuel and, to make the Jockey Club's gentlemen happy, the dependable equestrienne Rita del Erido. At the end of October, Houcke staged a new equestrian and nautical pantomime, ''Hunting'' (as such, in English: it was a way to celebrate the ''Entente Cordiale'' just signed between France and the United Kingdom), which revisited a familiar theme already used in ''Le Roi Dagobert'' and ''La Chasse au Sanglier'' and culminated with the horseman Raoul Jouin diving with his horse into the water basin from a height of nine meters (30 feet). There was the excitement of the hunt, the pretty peasant girls in joyous farandoles, the horses, the dogs, a deer, and the swimming pool. What was missing was the novelty of it all.&lt;br /&gt;
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The traditional revue, simply titled ''La Revue'', which followed in January, didn't leave a lasting impression but [[The Perezoffs]] spiced up the sauce in February with their spectacular juggling act, ''Un souper animé chez Maxim's'' (&amp;quot;An animated dinner at Maxim's&amp;quot;), in which the seven jugglers passed between them everything, from plates to pieces of restaurant furniture. Finally, on March 17, Houcke reprised ''Les Joyeux Nègres'' and its Cake Walk, danced by a couple of black juveniles, The Walkers. The show was held until the end of the season, after which Hippolyte Houcke's contract was not renewed. The Golden Age of the Nouveau Cirque had ended.&lt;br /&gt;
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==Mathias Beketov and His Great Russian Circus==&lt;br /&gt;
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[[File:Beketov_London.jpg|thumb|right|300px|Mathias Beketov (1908)]]At wits' end, the shareholders decided to lease the Nouveau Cirque to the Russian director [[Mathias Beketov]] (1867-1928), whose &amp;quot;Grand Cirque Russe Beketow&amp;quot; was touring Western Europe. (&amp;quot;Mathias Beketow&amp;quot; was the German spelling of his name, which in English would have been Mathew Beketov: His first name was actually the French name ''Mathieu'', spelled ''Матвей'' in Russian). Beketov was born in the small village of Orël, near Nizhny Novgorod in Russia, and began his career as an animal keeper for the [[The Nikitin Brothers|Nikitin]] brothers, who had a circus building in Nizhny Novgorod. &lt;br /&gt;
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From there, Beketov graduated to acrobatics and then to clowning (with trained animals), and performed extensively in Europe and, in 1893, in the United States at the Chicago World Fair. In 1894, Mathias Beketov created his own circus company, and went to tour most of Northwestern and Eastern Europe; the first Russian circus director to establish himself out of Russia, he became famous for his lavish pantomimes. He also proved quite a good horseman and even trained elephants; his daughter, Vardia, and his son, Aleksandr, became very competent equestrians under his tutelage.&lt;br /&gt;
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Mathias Beketov had often performed in France, albeit not in the capital. Before taking over the Nouveau Cirque, he had managed the [[Cirkusbygningen (Copenhagen)| Cirkusbygningen]], Copenhagen's circus building, from 1902 to 1904 and, since April 1904, his company had settled in Budapest's [[Fővárosi Nagycirkusz]], which Beketov had entirely renovated at his own expense. He had indeed excellent credentials! The Nouveau Cirque reopened its doors under Mathias Beketov's management on September 1, 1905.&lt;br /&gt;
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Luckily for his Parisian audiences, Beketov, like most of his Russian colleagues, erred on the side of flamboyancy. His programs had panache and included some of the greatest names in the circus business, among whom the great high school rider [[Gustave Gaberel]], the Rainats on the flying trapeze, [[Alonso Bracco]]'s Spanish troupe of acrobats (who performed a five-person &amp;quot;human bridge&amp;quot;), the Belgian strongwoman, Miss Athleta, and the [[The Houcke Dynasty|Houcke Brothers]] (Hippolyte Houcke's nephews, Lucien, Jean and Hippolyte) in their jockey act&amp;amp;mdash;with Lucien also presenting his juggling act on horseback. &lt;br /&gt;
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In the animal department, there was a spectacular group of nine lions, five tigers, one bear and three dogs from the Hagenbeck menagerie presented by [[Willy Peters]], and the three elephants of the gorgeously aristocratic Princess Yvonne de Mareyna&amp;amp;mdash;who was neither princess nor aristocrat: She belonged to an old family of fairgrounds entertainers, without a handle to their name! And in the grand tradition perpetuated by European circus owners, Mathias Beketov presented himself a magnificent group of horses at liberty. His early programs featured a sumptuous Russian finale with women in magnificent robes and headdresses, horsemen in furs and shapkas and colorful images of the rich Russian folklore. &lt;br /&gt;
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[[File:NC_Siberie_Poster.jpg|thumb|left|300px|Poster for Siberie (1906)]]Conspicuously absent were Foottit and Chocolat. Although it would be resuscitated on a few occasions, their duo had ceased to exist officially and they had both left the Nouveau Cirque with Hippolyte Houcke, who had taken them on a tour of the French provinces with a short-lived ''Nouveau Grand Cirque de Paris''&amp;amp;mdash;of which only Foottit was advertised as the star. Beketov had hired the clowns [[Tonitoff]] and [[Rudolf Seiffert|Seiffert]], [[Adolf Olschansky]], and [[Gobert Belling]] (the son of [[Tom Belling]], the originator of the ''Auguste'' character), all artists of great renown and talent&amp;amp;mdash;and who probably brought some fresh air to the comedy department. They were joined during the season by the German clowns [[Adolf Albano (Geibel)|Adolf &amp;amp; Victor Albano]] (whose real name was Goebel: Adolf was a pupil of the famous clowns [[Albano Brothers|Enrico &amp;amp; Alfredo Albano]], born Goretti, who would soon supplant Foottit &amp;amp; Chocolat as the Nouveau Cirque's clown stars).&lt;br /&gt;
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In January 1906, Mathias Beketov staged his first pantomime, ''Sibérie'' (&amp;quot;Siberia&amp;quot;), a &amp;quot;pantomime nautique à grand spectacle,&amp;quot; which began with court intrigues at the Winter Palace in St. Petersburg, followed by the departure of a group of prisoners to Siberia that were saved by amorous Russian women.  Commented the theatrical journal ''La Critique Théâtrale'': &amp;quot;All this happens at a gallop, amongst fiery horses dashing at a crazy speed to the sound of cracking knouts and drawn revolvers. It will end with everybody tumbling down a precipice and a chase in a thawed swamp where swimming horses perform hitherto unsuspected feats.&amp;quot; Between the splendors of the Russian court, the excitement of a Cossack riding act, the painted scrims coming down from the cupola to provide beautiful sets, and the grand finale in the swimming pool, ''Sibérie'' was not short of spectacular moments!  &lt;br /&gt;
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By mid-February, it was replaced by ''La Guerre Sino-Japonaise'' (&amp;quot;The Sino-Japanese War&amp;quot;), an &amp;quot;exotic&amp;quot; military piece that illustrated the 1894-1895 conflict between Japan and China over Korea. The journal ''Le Ménestrel'' commented on it thus: &amp;quot;They are not only killing each other in this new pantomime, they also dance a lot. We must encourage the new management, which has made a staging effect that reminds us of the enjoyable evenings of yore&amp;quot;&amp;amp;mdash;which might be seen as a commentary on the Nouveau Cirque's offerings of late. ''Sibérie'' and ''La Guerre Sino-Japonaise'' had delivered indeed their share of wonder and excitement.&lt;br /&gt;
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Just as ''Sibérie'' had opened rue Saint-Honoré, the new and gargantuan Cirque Métropole had opened its doors Avenue de la Motte-Picquet. It was yet another competition, and Beketov, like his predecessors, had become well aware that the Nouveau Cirque was not a place that could generate significant profits&amp;amp;mdash;especially for someone with a penchant for lavish productions. On April 22, 1906, after only eight months in Paris and to the consternation of its shareholders, Mathias Beketov announced that he was leaving the Nouveau Cirque to take better care of his flagship circus in Budapest.&lt;br /&gt;
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==Short Interlude: Jean Houcke==&lt;br /&gt;
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[[File:Jean_Houcke.jpg|thumb|right|280px|Jean Houcke (c.1920)]]The Nouveau Cirque's Board of Directors began to consider transforming their circus into a theater (which was certainly not a very practical solution), and they approached Vincent and Émile Isola, two former illusionists whose very successful theatrical empire included Joseph Oller's Olympia Music-Hall and the Folies Bergère theater. Notwithstanding the fact that their theaters had a much larger capacity than the Nouveau Cirque, which made them easily profitable, the Isola brothers had &amp;quot;legitimate theater&amp;quot; ambitions (they had their mind set on the very respectable and official Opéra Comique theater), and they politely declined the offer. &lt;br /&gt;
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Finally, after some hesitation, the shareholders decided to entrust the Nouveau Cirque's management to [[Jean Houcke]] (1878-1973), who had recently performed in its ring with his brothers Lucien and Hippolyte. Their father, [[The Houcke Dynasty|Eugène Léonard Houcke]], was Hippolyte Houcke’s brother, and their mother, Fanny, née Tourniaire, came from one of France's oldest and most illustrious circus families. Although Jean Houcke was only twenty-eight, his large family had owned or managed some of the best circuses in Europe, and the problems associated with the management of a circus were not unfamiliar to him. Furthermore, his name only was enough to give confidence to Parisian circus audiences.&lt;br /&gt;
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Jean Houcke was a talented equestrian, a smart dresser (which he will remain all his life) and a very elegant man in all acceptations of the term; he had great charm, a permanent smile with a twinkle in his eye, and excellent taste. After his stint at the Nouveau Cirque, which was to be his trial run, he became a brilliant and highly respected circus director with a great flair for programming his shows. Rue Saint-Honoré, Jean Houcke took care of the artistic department and was assisted on the administrative side by A.M. Rossi, who had worked in the same capacity with Jean's uncle, Hippolyte Houcke.&lt;br /&gt;
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Jean Houcke began by bringing Chocolat back to the Nouveau Cirque (albeit without Foottit) and opened the season 1906-1907 on September 9 with [[Willy Hagenbeck]]’s sensational group of thirty polar bears presented by [[Albert Krüger]]. They participated in a spectacle titled ''Sur la Banquise'' (&amp;quot;On the Ice Field&amp;quot;), at the end of which they slid on a toboggan into the water&amp;amp;mdash;a spectacular sight if any! Beginning in mid-December, a new pantomime, ''Les Skis Norvégiens'' (&amp;quot;The Norwegian Skis&amp;quot;), featured genuine Norwegian skiers performing ski jumps and competing in ski races pulled by horses, a popular Nordic sport&amp;amp;mdash;although the size of the ring may have reduced its thrill value! Fortunately, Hagenbeck’s polar bears were still at hand for the finale in the water basin. All things considered, it was original enough and the pantomime was a success[[File:NC_Ski_Norvegien.jpg|thumb|left|300px|Ad for ''Les Skis Norvégiens'' (1907)]]&lt;br /&gt;
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The acts that Jean Houcke brought in that season were also of high quality: The Perezoffs returned with their spectacular juggling act; the famous [[Lécusson Family|Brun-Lécusson]] troupe of acrobats on horseback presented an original series of acrobatic pyramids stretching from a phaeton to the horses that drew it; the [[The Ombras|Ombras]] twirled and jumped on their horizontal bars; the [[Les Amato|Amato]] family spectacularly balanced in columns on their free ladders; and there was even an equine aeronaut named &amp;quot;Fille de l’Air,&amp;quot; who stood on a platform hauled up to the circus’s cupola under a fake hot-air balloon.&lt;br /&gt;
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Beside Chocolat, who was surrounded by a troupe of lesser-known funny men, the clown department welcomed the popular Bob O’Connor in his new entrée, ''La cochère parisienne'' (&amp;quot;The Parisian Coachwoman&amp;quot;), whose finale showed the hilarious spectacle of the customer (O’Connor) reduced to pulling a carriage whose horse leisurely sat on the passenger seat. The clowns [[Moriss]] &amp;amp; [[Vincent Mariani|Vincent]] (Manrico and Vincente Mariani) also joined in the fun, as well as a young musical clown duo still trying to make a name for themselves, Brick &amp;amp; [[Grock]]. (Grock was totally unknown then and will later find his own way under the tutelage of another, much more prestigious partner, the great clown [[Antonet]].)&lt;br /&gt;
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As for Chocolat, he reprised his role in a revival of ''La Noce de Chocolat'' staged by Jean Houcke in mid-February 1907. This, evidently, was not a novelty, but Chocolat had remained popular, especially among the Nouveau Cirque’s audiences, and his presence in this indefatigable &amp;quot;bouffonnerie nautique&amp;quot; had not lost its appeal. Perhaps it was produced to fully use Chocolat’s talents, who didn’t shine much without a strong structure like those Foottit had created for him, or perhaps because it would have been too expensive at that point to create a new pantomime. ''La Noce de Chocolat'' ran until May 5, at which point the Nouveau Cirque closed for the summer recess. The season had probably not been the financial success everybody had hoped for, and Jean Houcke left for more rewarding adventures.&lt;br /&gt;
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==Charles Debray's Nouveau Cirque==&lt;br /&gt;
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As Parisians wondered about the Nouveau Cirque’s future, two business entrepreneurs, Messrs. Tison and Debray, appeared out of the blue in September and took over its management, just in time for the opening of the 1907-1908 season. Amazingly, and although Charles Debray (?-1927) remained on the Parisian circus scene for almost twenty years, circus history doesn’t seem to have kept any record of them prior to their involvement with the Nouveau Cirque (and also with the Cirque de Paris, formerly Cirque Métropole); it has not even recorded the first name of Tison who, apparently, quickly disappeared from the combine. &lt;br /&gt;
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[[File:Cirque_Métropole.jpg|thumb|400px|right|The Cirque Métropole (1907)]]Even though early programs of their Nouveau Cirque directorship mention &amp;quot;Direction: Tison-Debray,&amp;quot; a small poster for the &amp;quot;Nouveau Cirque de Paris&amp;quot; heralding wild animal acts in the ''Parc des Attractions'' of Paris’s 1907 ''Exposition Coloniale'' (Colonial Exhibition) in the Bois de Vincennes mentions in a subtitle, &amp;quot;Établissements Charles Debray,&amp;quot; which seems to indicate that Debray's company had taken full or part ownership of the circus of the rue Saint-Honoré&amp;amp;mdash;and also that Tison was nothing more than a silent partner. &lt;br /&gt;
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In his seminal book ''La Merveilleuse Histoire du Cirque'' (1947), the great circus historian Henri Thétard, who had indeed known the Nouveau Cirque of that era, devotes only a couple of lines to Debray, whom he somehow dismisses as an insignificant director. The fact that neither Tison nor Debray were circus men and, furthermore, that they didn’t have any recognized show business credentials, may explain the lack of interest circus and entertainment historians (and journalists) have showed them&amp;amp;mdash;not to mention that Debray’s management of the Nouveau Cirque and the Cirque de Paris was not a resounding success on a circus point of view. Debray was first and foremost a businessman, not a circus enthusiast, and his priorities were not of an artistic nature. &lt;br /&gt;
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Nevertheless, the Nouveau Cirque reopened its doors for the new season, and Charles Debray's first move was to lure back George Foottit to the fold. Thus, the legendary duo Foottit &amp;amp; Chocolat could be revived, although Foottit came with his sons, on whom he lavished much more attention than on his old partner. Then, a few weeks after the opening of the Nouveau Cirque, on September 27, 1907, Charles Debray also took over the management of the Cirque Métropole!&lt;br /&gt;
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[[File:NC_Revue_du_Nouveau_Cirque.jpg|thumb|300px|left|Poster for ''La Revue du Nouveau Cirque (1907]] The huge Cirque Métropole, which had finally opened Avenue de la Motte-Piquet, on Paris's Left Bank, boasted a capacity of 6,000 to 7,000 spectators&amp;amp;mdash;which may be reduced to a more believable 3,000 seats if one doesn't count the added (and exaggerated) standing room capacity in the vast ''promenoir''. Even though, a capacity of 3,000 seats was still quite impressive for a classic circus. The Cirque Métropole had a bumpy start: Its opening, announced for September 5, 1905 had been postponed several times, and when it finally happened on January 5, 1906, part of the house was not finished yet! From the start it had become apparent that it was much too big and had been ill-designed: For all its splendor, it was very cold and had no atmosphere&amp;amp;mdash;the absolute opposite of the Nouveau Cirque. Yet, for a business-oriented director such as Debray, it may have appeared to have potential.&lt;br /&gt;
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During the 1907-1908 season, Debray shifted his acts from one circus to the other, some of them even &amp;quot;doubling&amp;quot; in the two circuses, appearing early in the program in one circus, and late in the other. This was indeed a good way to save money, assuming that the two circuses didn't share the same audience. Debray also instituted a complete change of program every two weeks in order to improve business by shortening the return cycle of his regular audiences. This strategy, however, inferred that a large part of the audience would go to the circus more often&amp;amp;mdash;which was of course contingent upon the quality of the offerings.&lt;br /&gt;
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There were good acts shuttling between the two circuses, such as the equestrian troupe Lécusson, the Monbars on the flying trapeze, and the clowns Enrico &amp;amp; Alfredo Albano, whose success had begun to cast a large shadow over the fading glory of Foottit and Chocolat. Yet, in February, the Cirque Métropole closed its doors, changed its name to ''Cirque de Paris'', and become a movie theater. Debray was out but he remained at the helm of the Nouveau Cirque, which he would manage until the end, in 1926. (The Cirque de Paris soon returned to circus, and Debray even resumed his managerial functions there for a short time in 1920).&lt;br /&gt;
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In November 1907, Debray presented his first revue, aptly titled ''La Revue du Nouveau Cirque'', which starred the comic Daniels, and two pretty starlets from the Folies Bergère, Blondinette d’Alaza and Nine de Pervenche, whose short careers quickly fell into oblivion in spite of their &amp;quot;aristocratic&amp;quot; monikers. Chocolat (playing the parts of &amp;quot;Madame Nègre&amp;quot; and &amp;quot;The King of Siam&amp;quot;) and Bob O'Connor provided most of the comedy, and the 10 New-Brighton Girls performed a water ballet, sharing the pool with Mr. Houghton, &amp;quot;champion swimmer,&amp;quot; and Mr. Vaissade who performed the &amp;quot;dive in fire.&amp;quot; The program also included a new equestrian star, the beautiful and talented [[Thérèse de Ternann]], who rode in haute-école astride her horse, like Isabelle Chinon, and will be a Nouveau Cirque’s fixture until the advent of WWI.&lt;br /&gt;
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===Drifting Away===&lt;br /&gt;
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[[File:Albano_Brothers.png|thumb|right|300px|The Albano Brothers]]Like his predecessors, Debray produced pantomimes: In 1908, ''Il pleut, il pleut!'' (&amp;quot;It rains, it rains!&amp;quot;) featured as its pièce de résistance a clog dance performed by pretty &amp;quot;peasant girls&amp;quot; in tiny skirts. It starred the Ovaro Brothers (Gabriel Mansuy et Raymond Frau) a duo of stage comedians, one of whom, Raymond Frau, will soon become a comic star of French silent movies under the name of Dandy. The Ovaros, like Blondinette d’Alaza and Nine de Pervenche, came from the variety stage; Debray tried to lure a new audience to the declining Nouveau Cirque by bringing to its ring attractions that were performing in other, more successful media. As circus history had often demonstrated, this expedient has never been an efficient remedy&amp;amp;mdash;and if most theater critics had no problem with it, true circus chroniclers began to turn their nose up.&lt;br /&gt;
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In 1909, the traditional pantomime was replaced by an operetta titled ''Le plus beau hussar de France'' (&amp;quot;France’s most handsome Hussar&amp;quot;), which at least allowed the use of horses, but didn’t have the fun and fantasy of a traditional pantomime. Foottit and Chocolat, however, were each given their own pantomime: Foottit starred in ''Foottit Réserviste'', yet another expanded variation on the &amp;quot;Military Service&amp;quot; entrée, in which Foottit, arriving late to his barracks with his servant (Chocolat), was mistaken for the War Minister; and Chocolat in ''Chocolat aviateur'' (&amp;quot;Chocolat the Aviator&amp;quot;), which was more topical and undoubtedly much more original, since the French aviator Louis Blériot had just crossed the Channel in his airplane, the first person ever to do so. &lt;br /&gt;
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Yet, the legendary clowns’ stars were irremediably fading. They left the Nouveau Cirque at the end of the season, and moved to the Cirque de Paris (re-opened under a new management), where Foottit got star billing with his sons, who were unable to give him what Chocolat could, while Chocolat teamed-up with his own son, Eugène Grimaldi, a competent whiteface clown, but who couldn’t match Foottit’s presence and authority. At the Nouveau Cirque, the star clowns were now the [[Albano Brothers]] (Enrico and Alfredo Goretti), a multitalented Italian duo that excelled in mime and acrobatics as well as in verbal comedy, and whose subtle style of humor perfectly fit the Nouveau Cirque’s intimate atmosphere. &lt;br /&gt;
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In 1910, Charles Debray presented ''Coqueriquette'', staged by his &amp;quot;régisseur de piste&amp;quot; and choreographer, Louis Fouilloux. It was a burlesque of Edmond Rostand’s new hit romantic drama, ''Chantecler'', whose grandiloquent versified text uttered by actors dressed as farmyard animals lent itself to easy parody and provided the Albanos with good clown fodder. It was, however, more theatrical fare than circus, but it may have attracted theatergoers who wished to partake in the fun offered by the parody of a play they had seen; to Debray, all means were good to attract an audience, any audience, rue Saint-Honoré&amp;amp;mdash;as long as production costs were kept under tight control. &lt;br /&gt;
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[[File:NC_Soiree_a_Blaga_Park.jpg|thumb|left|400px|Advertising card for ''Une Soirée à Blaga Park'' (1911]]The five productions Debray offered for the season 1910-1911 must have been produced at low cost, since they didn't leave much of an impact. ''La Chasse aux Cerfs'' (&amp;quot;The Stag Hunt&amp;quot;) was yet another spin on past &amp;quot;hunting&amp;quot; pantomimes. ''En Vacances'' (&amp;quot;On Vacation&amp;quot;) revisited waterside frolics like in ''La Grenouillère''. ''Dans les Landes'' (&amp;quot;In The Landes&amp;quot;) exhibited the unique folklore of the Landes region in the southwest of France, with its dances on stilts, beret throwing competitions and &amp;quot;courses landaises&amp;quot;&amp;amp;mdash;an innocuous version of corridas in which competitors must gracefully avoid or jump over especially bred, energetic young cows with impressive horns; it may have been the most original pantomime of the lot.&lt;br /&gt;
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As for ''Ouest-État, train de plaisir'' (&amp;quot;Ouest-État, pleasure train&amp;quot;), it may have had something to do with the integration of the Chemins de Fer de l'Ouest rail company into the national Chemins de Fer d'État rail network in 1909, and probably referred to the fact that the former company used to transport holiday makers. Finally, ''Une Soirée à Blaga Park'' (&amp;quot;an Evening at Blaga Park&amp;quot;), starring two stage comedians named Lecourt and Darius, alluded to the &amp;quot;Luna Park&amp;quot; amusement park that had opened in 1909 at Paris's Porte Maillot (the name &amp;quot;Blaga&amp;quot; came from the French word for &amp;quot;joke,&amp;quot; ''blague''). Lacking originality, richness and the presence of well-known audience favorites, all these offerings were forgettable.&lt;br /&gt;
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The acts featured that season included the Fredianis' famous jockey act, the Rainats on the flying trapeze, the Lécusson Troupe, all in return engagements, the escapist Stevens, Miss Dorcy with a group of lionesses, and Mademoiselle Renée Furie presenting &amp;quot;The Human Diabolo,&amp;quot; a thrill act that followed in the footsteps of the celebrated [[Mauricia de Thiers]], the first woman to perform a somersault in a miniature auromobile in 1904 at the Folies Bergère, before creating another daredevil act, &amp;quot;The Human Bilboquet,&amp;quot; which she had recently presented at the Casino de Paris; with Miss Furie, Debray offered a variety act of a similar vein, but cheaper. He was less lucky in 1911 with Mann-Ret, &amp;quot;La Toupie Humaine&amp;quot; (&amp;quot;the human gyroscope&amp;quot;), who came from the fairgrounds and pedaled to motion a giant gyroscope atop a ten-meter pole: Mann-Ret's apparatus broke during a performance, sending him down to his death!&lt;br /&gt;
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[[File:The_Fredianis_Nouveau_Cirque.jpg|thumb|400px|right|The Fredianis (1909)]]Still from the fairgrounds came Francesco Lentini, the three-legged man, a sideshow attraction exhibited in the foyer; Lentini would soon join the Barnum &amp;amp; Bailey Circus's Sideshow in the United States. In 1912-1913, Debray offered ''Blon-D'hin Caporal'' (&amp;quot;Corporal Blon-D'hin&amp;quot;), a pantomime that was yet another expanded version of the &amp;quot;Military Service&amp;quot; clown entrée. It starred Blon-D'hin (Bruno Firemans, 1874-1951), a famous Franco-Belgian ''comique troupier''. Singers of humoristic military songs, ''comique troupiers'' (&amp;quot;comic troopers&amp;quot;) were very popular before WWI, but they belonged to the variety stage, not to the circus ring. ''Blon-D'hin Caporal'' was followed by another pantomime ''La Grande Chasse à Courre'' (&amp;quot;The Great Dear Hunt&amp;quot;), which was again another adaptation of an old offering.&lt;br /&gt;
&lt;br /&gt;
At least, 1913 marked an important milestone in the Nouveau Cirque’s history, although it was not of Charles Debray’s making: On June 14 at midnight, the ''Association des Artistes Lyriques'', a benevolent association of stage singers, gave its annual fund-raising gala in the Nouveau Cirque’s ring; singing stars such as the young Maurice Chevalier, the &amp;quot;meneuse de revue&amp;quot; Mistinguett and many others participated in simple circus acts they had prepared for the occasion, and the evening (or more accurately, morning) ended with a joyous pantomime written by the well-known playwright and novelist Tristan Bernard (1866-1947), titled ''Tous à l'eau'' (&amp;quot;Everybody to the water!&amp;quot;). This gala was the original &amp;quot;circus of the stars,&amp;quot; and the forerunner of the legendary &amp;quot;Gala de l'Union&amp;quot; that originated in the same circus ten years later (of which later).&lt;br /&gt;
&lt;br /&gt;
=== The War Years===&lt;br /&gt;
&lt;br /&gt;
Starting with the 1913-1914 season, Debray limited circus performances to three days a week (Thursday for children matinées, Saturday and Sunday). During the week, the evenings were dedicated to boxing, wrestling, nautical sports, dancing contests and even a drama with music, ''Le Soupçon'' (&amp;quot;The Suspicion&amp;quot;) and an operetta, ''Mademoiselle Caprice''. Circus performances were also spiked with variety acts: The Nouveau Cirque was now in full decline. Then on June 28, 1914, the Archduke Franz Ferdinand of Austria was assassinated by a Serbian nationalist in Sarajevo; one month later, World War I began. Circuses and theatres remained closed until the beginning of 1915.&lt;br /&gt;
&lt;br /&gt;
[[File:Enrico_Lola_Pissiuti.jpg|thumb|left|280px|Enrico &amp;amp; Lola Pissiuti (c.1920)]]The war brought significant artistic challenges to circuses: A large number of male performers were drafted, horses were requisitioned by the Army (there were still used by mounted regiments and for equipment transport), and performers from Germany and the Austro-Hungarian empire, both big reservoirs of talent, were of course banned. Sad to say, these challenges were not such a major concern for the Nouveau Cirque, whose shows were already relying in large part on outsiders, and whose standing as a &amp;quot;temple of equestrian arts&amp;quot; was nothing more than ancient memory&amp;amp;mdash;as was its fashionable clientele. Such was Charles Debray’s legacy after seven years of management!&lt;br /&gt;
&lt;br /&gt;
The Nouveau Cirque reopened earlier than most, in December 1914. Although horses would be absent from most of its shows during the war, the great acrobat on horseback [[Enrico Pissiuti]] performed his unique pas-de-deux on a single horse with his sister Lola in one of the first programs following the circus's reopening. Then, in January 1915, Debray presented Consul (third of the name!), the famous trained chimpanzee, who, dressed in tails, white tie and top hat, acted like a gentleman; it had been for many years a sensation in circuses all over Europe as well as on the variety stage&amp;amp;mdash;notably at the Folies Bergère in 1909. Yet, by and large, Debray continued to pepper his circus programs with singers and variety acts.&lt;br /&gt;
&lt;br /&gt;
The 1915-1916 season began with a revue written by two prolific theatrical hacks, André Mauprey (1881-1939) and Désiré Pougaud (1866-1928), titled ''Eh! Alliés donc… au Nouveau Cirque!''&amp;amp;mdash;a rather lame pun playing on the sounding similarity of the words &amp;quot;Alliés&amp;quot; (Allies) and &amp;quot;Allez&amp;quot; (go); alas, the intended message, &amp;quot;go to the Nouveau Cirque,&amp;quot; was not very effictive. As the war continued with no clear end in sight, Parisians needed to escape the prevalent gloom; the always popular Cirque Medrano had just hired the [[Les Fratellini|Fratellinis]], an original and talented trio of clowns that had taken Paris by storm. Debray, always interested in money-making propositions, decided to follow suit.&lt;br /&gt;
&lt;br /&gt;
He found his star-clown in the person of the very talented Spanish auguste [[Antonio Lozano]], who had just partnered with the clown [[Jean-Marie Cairoli]], a stalwart of the Nouveau Cirque who had worked with a variety of partners. Lozano had had an extremely successful run in France and Scandinavia with [[Charley-William Ilès|C.W. Ilès]] as his partner, but he and Ilès had recently separated. Debray bet on Lozano's talent and reputation and made him the star of elongated entrées posing as pantomimes, ''Antonio Toréador'' (&amp;quot;Antonio the Torero&amp;quot;) and ''Antonio Détective'' (&amp;quot;Antonio the Detective&amp;quot;), and even gave Cairoli his own piece, ''Le Mariage de Cairoli'' (&amp;quot;Cairoli's Wedding&amp;quot;)&amp;amp;mdash;shades of ''La Noce de Chocolat''. &lt;br /&gt;
&lt;br /&gt;
Yet, for all their talent, Cairoli and Antonio were neither Foottit &amp;amp; Chocolat, nor the Fratellinis, and furthermore, Debray's Nouveau Cirque was not conducive to the making of new circus stars. He tried again in 1917 with the clown [[Moriss]] (Manrico Mariani), who was featured in ''Les Aventures de Moriss'' (&amp;quot;Moriss’s Adventures&amp;quot;), but Debray was more at ease with variety comedians and singers, and the Nouveau Cirque became mostly a &amp;quot;café-concert,&amp;quot; with a few circus acts interspersed in the program to justify its name.&lt;br /&gt;
&lt;br /&gt;
===The Twenties===&lt;br /&gt;
&lt;br /&gt;
[[File:Sailer-Jackson.jpg|thumb|right|400px|Otto Sailer-Jackson (c.1920)]]The war finally came to an end on November 11, 1918. The immediate postwar era was a boon for the circus industry. Charles Debray took notice and the Nouveau Cirque at last began to pay attention to genuine circus acts of some consequence&amp;amp;mdash;notably animal acts. In addition, at the beginning of the 1920-1921 season, he took again the management of the huge Cirque de Paris, which had had its share of managerial problems and had spent the war as a movie house. Debray brought avenue de la Motte-Picquet his own brand of variety shows interspersed with a few circus acts. This was not a good recipe for a house that had no intimacy, and Debray’s tenure lasted only one season. (He was succeeded by Gaston Rousseau, who put the Cirque de Paris back on its tracks.) &lt;br /&gt;
&lt;br /&gt;
Meanwhile, artists from the defeated Triple Entente coalition were again allowed to perform freely everywhere in Europe&amp;amp;mdash;although at the beginning, they found it safer to appear under non-German sounding aliases. In Germany, the Mark had completely collapsed and [[Carl Krone]], the [[The Hagenbeck Dynasty| Hagenbecks]] and other directors of major circuses with large menageries were in desperate need of foreign currency; the solution was to send some of their animal acts to perform abroad. Since these attractions had become more affordable now to other European circuses than before the war, the Nouveau Cirque presented a stream of exciting wild animal acts in the early 1920s.&lt;br /&gt;
&lt;br /&gt;
It began in October 1920 with Nora, [[Circus Krone]]’s trained hippo, who was expected to dip in the water basin, but was not always in the mood to go for a swim… Krone’s group of seven polar bears followed in November and, in December and January, a group of lions presented by Croton, a pseudonym hiding an undeniably Germanic name, Siegfried. In February (1921), [[Heinrich Wagner]], using Harry as an alias, led Circus Krone's large group of Bengal and Siberian tigers&amp;amp;mdash;one of the most spectacular cage acts of the time. The following season, in September 1921, Otto Sailer, performing as Jackson, presented a group of four tigers from [[Circus Carl Hagenbeck]]’s menagerie (Sailer would keep his alias as part of his name, and became famous as [[Otto Sailer-Jackson]]), and in December, [[Alfred Bendix]] brought a group of four lions from the same circus.&lt;br /&gt;
&lt;br /&gt;
[[File:Antonet_et_Beby.jpg|thumb|left|300px|Antonet &amp;amp; Béby (c.1930)]]Of course, cage acts were only part to the Nouveau Cirque's offerings. At a time when the Fratellinis were still attracting large crowds to the Cirque Medrano, the Nouveau Cirque welcomed the Parisian debuts of a wonderful clown duo that was on its path to stardom, [[Antonet]] &amp;amp; [[Béby Frediani|Béby]]. Antonet was considered the true heir to the legendary Foottit, although they were quite different in appearance; if their characters in the ring were indeed both authoritarian, Antonet was much more elegant and refined. He had been the partner of one of Europe's most creative augustes, [[Little Walter]] (Alexandre Ulrich), under whose tutelage he had learned his craft. &lt;br /&gt;
&lt;br /&gt;
Béby, Antonet's auguste, was not new to the Nouveau Cirque: he was Aristodemo Frediani, of the legendary jockey act, the Fredianis. Although he had been, with his brothers, an equestrian star of first magnitude, his had always wanted to be a clown and this is what he did as soon as he retired from the family act. Béby had a strong presence in the ring; his silhouette, square and heavy, with a few surrealistic touches in his attire, was naturally comical and he was extremely funny without having to force his effects. His association with Antonet was a perfect match (in the ring at least). Antonet &amp;amp; Béby gave Parisians a good reason to go to the Nouveau Cirque: Debray had finally found his stars! This may have been just a stroke of luck, however, for the uninspired Debray had remained true to himself in his programs: His headliners were fairground thrill acts, and he even hired cage acts from small traveling menageries. &lt;br /&gt;
&lt;br /&gt;
Sadly, in spite of the favorable postwar conditions, Debray had proved unable to offer anything really fresh beside his new clowns&amp;amp;mdash;but Antonet &amp;amp; Béby couldn't bring back the Nouveau Cirque's old glory by themselves. Then, in 1923, [[Gaston Deprez]] revived the venerable Cirque d'Hiver and restored it to its original splendor. The Nouveau Cirque had now to contend with two very successful circuses, Medrano and the Cirque d'Hiver, as well as with the Cirque de Paris, which had finally managed to create a clientele for itself on the Left Bank. Debray had apparently missed his opportunity, and his cheap brand of circus and variety became completely obsolete in 1924 when the [[Empire Music-Hall Cirque]], whose model was Berlin's famous WinterGarten theater, opened avenue de Wagram, near the Place de l'Étoile, with a brilliant mixture of top variety and circus acts.&lt;br /&gt;
&lt;br /&gt;
===Final Curtain=== &lt;br /&gt;
&lt;br /&gt;
The Nouveau Cirque was one last time the elegant circus it had once been when the ''Gala de l'Union des Artistes'' was held in its ring for the first time on March 3, 1923 at midnight. Created by the great French actor Max Dearly, it was modeled after the fund-raising gala presented in the same ring ten years earlier by the ''Union des Artistes Lyriques'', but the ''Union des Artistes'', a different benevolent association, encompassed performers of all disciplines, including the theater and the blossoming movies. Playing the role of &amp;quot;Monsieur Loyal,&amp;quot; Max Dearly presented a bevy of stars transformed for one night into circus artists, including the unavoidable Mistinguett; the stage and film actresses Jane Marnac, presenting a horse in ''haute-école'', and Maud Loty with a group of trained geese; the celebrated actor Michel Simon as a clown; and the playwright, actor, and Paris's undisputed theatre king, Sacha Guitry, doing a magic act. The ''Gala de l'Union'' (as it would be popularly known) became a glamorous Parisian event, held annually first at the Nouveau Cirque, then at the Cirque d'Hiver and a few other locations until 1982. (It was shortly revived from 2010 to 2013, and a last time in 2016.)&lt;br /&gt;
&lt;br /&gt;
[[File:Nouveau_Cirque_St_Honore.jpg|thumb|right|400px|The Nouveau Cirque, 251 rue Saint-Honoré (c.1900)]]Yet, despite the presence in 1924 of [[August Mölker]] with a group of tigers and, the following year, of Petersen with twelve lions from [[Circus Strassburger]]’s menagerie, and notwithstanding the popular Antonet &amp;amp; Béby, too many Parisians had lost interest in the Nouveau Cirque to keep it alive. Not that circus had gone out of favor in the capital: Medrano, the Cirque d’Hiver, the Empire were doing well, and even the Cirque de Paris had now its habitués. But even though it was not easy to make the Nouveau Cirque truly profitable, Charles Debray didn’t have the artistic vision and the creative talents of Raoul Donval, Hippolyte and Jean Houcke, or Mathias Beketov. He may have kept the Nouveau Cirque artificially afloat for a long time, but he couldn’t keep or renew its audiences, unable as he was to give them the quality they expected from this Parisian institution. &lt;br /&gt;
&lt;br /&gt;
On Sunday, April 18, 1926, the Nouveau Cirque gave its last performance in a general indifference. Charles Debray passed away the following year. Joseph Oller’s magnificent circus was demolished and replaced by an office building, which was later transformed and house today (2020) the Mandarin Oriental Hotel. Only after its demolition, Parisians began to miss their old circus&amp;amp;mdash;not for its shows of late, to be sure, but for what it represented: The insouciant &amp;quot;Belle Époque,&amp;quot; when Paris was the world’s most joyous, elegant and innovating capital; the Nouveau Cirque had embodied all these qualities: The last remnants of the Belle Époque had definitely disappeared with it.&lt;br /&gt;
&lt;br /&gt;
==Suggested Reading==&lt;br /&gt;
&lt;br /&gt;
* Adrian, ''Histoire illustrée des cirques parisiens'' (Bourg-la-Reine, published by the author, 1957) &lt;br /&gt;
* Ferran Canyameres, ''Josep Oller i la seva època'' (Barcelona, Editorial AEDOS, 1959)&lt;br /&gt;
* Christian Dupavillon, ''Architectures du Cirque'' (Paris, Éditions du Moniteur, 2001) &amp;amp;mdash; ISBN 2-281-19136-2&lt;br /&gt;
* Pascal Jacob, ''Paris en pistes – Histoire du cirque parisien'' (Rennes, Éditions Ouest-France, 2013 &amp;amp;mdash; ISBN 978-2-7373-6008-4&lt;br /&gt;
* Dominique Denis, ''Nouveau Cirque – Paris de la Belle Époque'' (Aulnay-sous-Bois, Arts des 2 Mondes, 2019) &amp;amp;mdash; ISBN 978-2-915189-39-1&lt;br /&gt;
&lt;br /&gt;
==Image Gallery==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;Gallery&amp;gt;&lt;br /&gt;
File:Hippodrome_de_l'Alma_Races.png|Hippodrome de l'Alma (c.1880)&lt;br /&gt;
File:Reischoffen_Panorama_cross_section.png|Panorama of Reischoffen, cross section (1881)&lt;br /&gt;
File:Reischoffen_Panorama_plan.jpg|Panorama of Reischoffen, plan (1881)&lt;br /&gt;
File:Reischoffen_Panorama.jpg|Poster for the Panorama of Reischoffen (1881) &lt;br /&gt;
File:Raoul_Donval.jpg|Raoul Donval (c.1880)&lt;br /&gt;
File:Piscine_Rochechouart.jpg|Poster for ''La Grande Piscine Rochechouart'' (1886)&lt;br /&gt;
File:Nouveau_Cirque_Cheret.jpg|Poster for the Nouveau Cirque (c.1886)&lt;br /&gt;
File:Nouveau_Cirque_elevation.jpg|Nouveau Cirque's cross section (1886)&lt;br /&gt;
File:Nouveau_Cirque_Plan.jpg|Nouveau Cirque's Plan (1886)&lt;br /&gt;
File:Nouveau_Cirque_cross_section.jpg|Nouveau Cirque's Water Basin (1886)&lt;br /&gt;
File:NC_Cocomat_Removal.jpg|Removal of the Esparto Mat (1886)&lt;br /&gt;
File:NC_Leopold_Loyal.jpg|Poster featuring Léopold Loyal (1886)&lt;br /&gt;
File:Tony_Grice_Poster.jpeg|Poster for Tony Grice (1886)&lt;br /&gt;
File:NC_Grenouillere.jpg|Poster for ''La Grenouillère'' (1886)&lt;br /&gt;
File:Grenouillere_Fan.jpg|Nouveau Cirque Promotional Fan (1886)&lt;br /&gt;
File:NC_Bains_du_Nouveau_Cirque.png|Poster for &amp;quot;Les Bains du Nouveau Cirque&amp;quot; (1887)&lt;br /&gt;
File:NC_Carnaval_de_Venise.jpg|Poster for ''Le Carnaval de Venise'' (1887)&lt;br /&gt;
File:La_Noce_de_Chocolat.jpeg|Poster for ''La Noce de Chocolat'' (1887)&lt;br /&gt;
File:NC_Noce_Chocolat_Illustration.jpg|Press illustration for ''La Noce de Chocolat'' (1888)&lt;br /&gt;
File:NC_Combat_Naval.jpeg|Poster for the ''Combat Naval'' (1888)&lt;br /&gt;
File:Hanri_Agoust.jpg|Henri Agoust (1889)&lt;br /&gt;
File:Billy_Hayden_-_Garnier.jpg|Billy Hayden (1889)&lt;br /&gt;
File:NC_Les_Lions.jpg|Poster for Darling's Lions (1889)&lt;br /&gt;
File:NC_Barriere.jpg|Backstage Scene (1889)&lt;br /&gt;
File:Hippolite_Houcke_-_Garnier.jpg|Hippolyte Houcke (1889)&lt;br /&gt;
File:NC_Paris_au_Galop.jpg|Poster for ''Paris au Galop'' (1889)&lt;br /&gt;
File:Nouveau_Cirque_Paris_au_Galop_1889.jpg|Press illustration for ''Paris au Galop'' (1889)&lt;br /&gt;
File:Nouveau_Cirque_Seating.jpg|Nouveau Cirque Seating Chart (c.1890)&lt;br /&gt;
File:Deyerling_Lions.jpg|Eduard Deyerling (1890)&lt;br /&gt;
File:NC_Isabelle_Chinon.jpg|Isabelle Chinon (c.1890)&lt;br /&gt;
File:Chinon_Nouveau_Cirque.jpg|Isabelle Chinon at the Nouveau Cirque (1890)&lt;br /&gt;
File:Baronne_de_Rhaden.jpg|Baronne de Rahden (c.1890)&lt;br /&gt;
File:A_La_Cravache.jpg|Press illustration for ''A la Cravache'' (1890)&lt;br /&gt;
File:Nouveau_Cirque_-_A_la_cravache.jpg|Poster for ''À la cravache'' (1891)&lt;br /&gt;
File:NC_Roi_Dagobert.jpg|Poster for ''Le Roi Dagobert'' (1891)&lt;br /&gt;
File:NC_Garden_Party.jpg|Poster for ''Garden Party'' with Yvette Guilbert (1891)&lt;br /&gt;
File:NC_Don_Quichotte.jpg|Poster for ''Don Quichotte'' (1891)&lt;br /&gt;
File:NC_A_Fond_de_Train.jpg|Poster for ''À Fond de Train'' (1892)&lt;br /&gt;
File:Nouveau_Cirque_Papa_Chrysanthème.jpg|Press illustration for ''Papa Chrysanthème'' (1892)&lt;br /&gt;
File:NC_Chrysantheme.jpg|Press Illustration for ''Papa Chrysanthème'' (1893)&lt;br /&gt;
File:NC_Yacht_de_Mr_Durand.jpg|Poster for ''Le Yacht de Mr. Durand'' (1893)&lt;br /&gt;
File:Foottit_et_Chocolat.jpg|Foottit &amp;amp; Chocolat (c.1893)&lt;br /&gt;
File:Fragson.jpg|Harry Fragson (c.1894)&lt;br /&gt;
File:Hippodrome_Champd_de_Mars_-_Favereau.jpg|Ad for the Hippodrome du Champ de Mars (1894)&lt;br /&gt;
File:MNC_Boule_de_Siam.jpg|Poster for ''Boule de Siam'' (1894)&lt;br /&gt;
File:The_Lorch_Family_(c1890).jpeg|The Lorch Family (c.1895)&lt;br /&gt;
File:Miss_Athleta.jpg|Miss Athleta (c.1895)&lt;br /&gt;
File:NC_Lefevre_Poster.jpg|Nouveau Cirque Poster (1895)&lt;br /&gt;
File:NC_Pierrot_Soldat.jpg|Poster for ''Pierrot Soldat'' (1895)&lt;br /&gt;
File:NC_Fottit_et_Chocolat.jpg|Poster for Foottit &amp;amp; Chocolat (1895)&lt;br /&gt;
File:Nouveau_Cirque_La_Petite_Plage.jpg|Poster for ''La Petite Plage'' (1895)&lt;br /&gt;
File:Nouveau_Cirque_Paris-Parade.jpg|Press illustration for ''Paris-Parade'' (1895)&lt;br /&gt;
File:NC_Coco.jpg|Poster for ''Coco'' (1896)&lt;br /&gt;
File:NC_Coco_Program.jpg|Program for ''Coco'' (1896)&lt;br /&gt;
File:Nouveau_Cirque_Feu_au_Moulin.jpg|Press illustration for ''Le Feu au Moulin'' (1896)&lt;br /&gt;
File:NC_Paris-Pekin.jpg|Poster for ''Paris-Pékin'' (1896)&lt;br /&gt;
File:NC_Les_100_Kilos.jpg|Press illustration for ''Les 100 Kilos'' (1897)&lt;br /&gt;
File:NC_Decor.jpg|Set Design for ''Les 100 Kilos'' (1897)&lt;br /&gt;
File:NC_Les_chevaux_plongeurs.jpg|Poster for ''Au Texas'': The Diving Horses (1897)&lt;br /&gt;
File:NC_La_Chasse_au_Sanglier.jpg|Poster for ''La Chasse au Sanglier'' (1898)&lt;br /&gt;
File:Pierantoni_and_Chocolat.jpg|Pierantoni and Chocolat by Henry Gerbault (1898)&lt;br /&gt;
File:NC_Cascade_merveilleuse.jpg|Poster for ''La Cascade Merveilleuse'' (1898)&lt;br /&gt;
File:Maximilian_Elephants.jpg|Maximilian Elepahnts (1898)&lt;br /&gt;
File:Rita_del_Errido.png|Rita del Errido (1899)&lt;br /&gt;
File:Nouveau_Cirque_Map.jpg|Advertising Street Map (c.1900)&lt;br /&gt;
File:Nouveau_Cirque_Interior.jpg|Nouveau Cirque's House (c.1900)&lt;br /&gt;
File:Nouveau_Cirque's_seats_and_boxes.jpg|Nouveau Cirque's Seats and Boxes (c.1900)&lt;br /&gt;
File:Oller_Lautrec.jpeg|Joseph Oller with Toulouse-Lautrec (c.1900)&lt;br /&gt;
File:Fredianis_3_men_high.jpg|The Fredianis (c.1900)&lt;br /&gt;
File:Therese_Renz_(c.1900).jpg|Therese Renz (c.1900)&lt;br /&gt;
File:Nouveau_Cirque_St_Honore.jpg|Nouveau Cirque rue Saint-Honoré (c.1900)&lt;br /&gt;
File:NC_Pont_Alexandre.jpg|Press illustration for ''Le Pont Alexandre III'' (1901)&lt;br /&gt;
File:NC_L'Estafette.jpeg|Poster for ''L'Estafette'' (1901)&lt;br /&gt;
File:Barnum_and_Bailey_Paris_1901.jpg|Barnum &amp;amp; Bailey in the Galerie des Machines (1901)&lt;br /&gt;
File:NC_Cake_Walk.png|Poster advertising &amp;quot;The true Cake Walk&amp;quot; (1903)&lt;br /&gt;
File:Soeurs_Peres.jpg|The Pérès Sisters in the Cake Walk (1903)&lt;br /&gt;
File:NC_Elks.jpg|The Elks (c.1903)&lt;br /&gt;
File:NC_Cake_Walk_Poster.jpg|Poster for ''Les Joyeux Nègres'' (1903)&lt;br /&gt;
File:Nouveau_Cirque_Façade_(1904).jpeg|Nouveau Cirque Façade (1904)&lt;br /&gt;
File:Nine_de_Pervenche.jpg|Nine de Pervenche (c.1905)&lt;br /&gt;
File:Albano_Brothers.png|Albano Brothers (c.1905)&lt;br /&gt;
File:Allarty_on_horse.jpg|Blanche Allarty (1906)&lt;br /&gt;
File:NC_Siberie_Poster.jpg|Poster for ''Sibérie'' (1906)&lt;br /&gt;
File:NC_Ski_Norvegien.jpg|Ad for ''Les Skis Norvégiens'' (1907)&lt;br /&gt;
File:Noce_Chocolat_Houcke.jpg|Ad for ''La Noce de Chocolat'' (1907)&lt;br /&gt;
File:NC_Expo_Coloniale.jpg|Poster for the Nouveau Cirque's Exhibition at the Exposition Coloniale (1907)&lt;br /&gt;
File:Cirque_Métropole.jpg|The Cirque Métropole (1907)&lt;br /&gt;
File:NC_Revue_du_Nouveau_Cirque.jpg|Poster for ''La Revue du Nouveau Cirque'' (1907)&lt;br /&gt;
File:Beketov_London.jpg|Mathias Beketov (1908)&lt;br /&gt;
File:Nouveau_Cirque_Program.jpg|Program Cover (1908)&lt;br /&gt;
File:NC_Chocolat_Aviateur.jpg|Advertising card for ''Chocolat Aviateur'' (1909)&lt;br /&gt;
File:The_Fredianis_Nouveau_Cirque.jpg|The Fredianis (1909)&lt;br /&gt;
File:Perezoffs.jpg|Poster for The Perezoffs (c.1910)&lt;br /&gt;
File:Therese_de_Ternann.jpg|Thérèse de Ternann (1910)&lt;br /&gt;
File:NC_Soiree_a_Blaga_Park.jpg|Postcard for ''Une Soirée à Blaga Park'' (1911)&lt;br /&gt;
File:Moriss.jpg|Moriss (c.1915)&lt;br /&gt;
File:Jean_Houcke.jpg|Jean Houcke (c.1920)&lt;br /&gt;
File:Nouveau_Cirque_Course_aerienne.jpg|Postcard advertising ''La Course Aérienne'' (c.1920)&lt;br /&gt;
File:Enrico_Lola_Pissiuti.jpg|Enrico &amp;amp; Lola Pissiuti (c.1920)&lt;br /&gt;
File:Antonet_et_Beby.jpg|Antonet &amp;amp; Béby (c.1930)&lt;br /&gt;
&amp;lt;/Gallery&amp;gt;&lt;br /&gt;
&lt;br /&gt;
[[Category:Circuses|Nouveau Cirque]][[Category:History|Nouveau Cirque (Paris)]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=The_Chinese_Acrobatic_Theater&amp;diff=36482</id>
		<title>The Chinese Acrobatic Theater</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=The_Chinese_Acrobatic_Theater&amp;diff=36482"/>
				<updated>2021-08-20T20:48:15Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: /* The Show Of One Hundred Skills */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;''By Dominique Jando''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[File:Cyrk_Chinese_Show_Poster.jpeg|right|thumb|300px|Poster for a Chinese troupe in Poland (1964)]]At the dawn of the 21st century, Chinese acrobats have pushed the limits of acrobatic skills to an extraordinary level. If the Russians and other members of the former Soviet Union have been the most inventive and skilled circus artists of the twentieth century, the Chinese, who come from a different, albeit parallel tradition, are reigning today over the world of acrobatics&amp;amp;mdash;at least technically, if not always creatively.&lt;br /&gt;
&lt;br /&gt;
Chinese acrobats can be seen in many Western circus shows; the Chinese acrobatic theater where they come from, however, is often mistakenly called &amp;quot;Chinese circus&amp;quot; in the West. Although its artists perform acts of a similar genre and share with Western circus artists a similar background&amp;amp;mdash;that of the traveling fairground entertainers&amp;amp;mdash;their craft has evolved separately, with its own history and traditions.&lt;br /&gt;
&lt;br /&gt;
Historically, the main difference between circus and Chinese acrobatic theater resides in the content of the show, and its venue. Whereas the Western circus was originally an equestrian show interspersed with acrobatic elements (see [[SHORT HISTORY OF THE CIRCUS|Short History of the Circus]]), the Chinese acrobatic theater has always been purely acrobatic, and didn’t include any form of animal training, equestrian or else&amp;amp;mdash;although trick riding exhibitions and trained animal shows existed in China, but separately from acrobatic performances. In addition, until very recently, the Chinese acrobatic theater didn't include aerial acts either. &lt;br /&gt;
&lt;br /&gt;
As for the performance venue, there is also a major difference: Because of its equestrian component, the circus has been traditionally performed in the round (thus its name), while the Chinese acrobatic theater is traditionally performed on stage. (It must be noted, however, that early European and American circus buildings often contained both a ring, for equestrian and animal performances, and a stage, for acrobatic performances and pantomimes.)&lt;br /&gt;
&lt;br /&gt;
===Cross Pollination===&lt;br /&gt;
&lt;br /&gt;
The People's Republic of China is a multi-national country, an ancient civilization with a long history and a rich and brilliant culture. Over several millennia, its peoples have created many forms of performing arts, each of them characterized by a host of schools and styles. These have followed, for centuries, a linear evolution aimed towards the extreme refinement of the skills involved in each particular art form. &lt;br /&gt;
&lt;br /&gt;
Although China started contacts with non-Asian countries more than two thousand years ago, foreign influences were absorbed and rendered with a Chinese flavor for the sole benefit of that evolution. In this peculiarity lies the most important difference between Chinese and Western cultural traditions: The latter is more organic and open to new components, whereas the Chinese tradition aims towards the perfection of already well-known elements, and the integration of new elements into the existing mold.&lt;br /&gt;
&lt;br /&gt;
The Chinese acrobatic theater followed that same development pattern. Whereas European and American circuses and circus performers were in a constant search for novelties and new techniques (driven in part by commercial needs), Chinese acrobats eventually restricted their repertoire to a set number of specialties (although it came to include over two hundred different specialties&amp;amp;mdash;which is quite a number in any respect), but they constantly improved their presentation and increased the level of difficulty of the tricks involved, in search of an elusive perfection.&lt;br /&gt;
&lt;br /&gt;
European circus troupes made their first visits to China in the early nineteenth century. The [[The Tourniaire Family|Tourniaires]], [[Giuseppe Chiarini]], and the flamboyant [[Louis Soullier]] certainly made their mark on the Middle Kingdom, but their tours resulted principally in exporting Chinese acrobatic specialties to the West&amp;amp;mdash;such as perch pole balancing and plate spinning&amp;amp;mdash;rather than having any decisive influence on the Chinese acrobatic tradition. (Later, the acrobatic bicycle will be one of the rare Western additions to the traditional Chinese acrobatic repertoire.)&lt;br /&gt;
&lt;br /&gt;
Chinese itinerant entertainers, however, had already met with their European counterparts in the giant medieval fairs of Eastern Europe, which had already created cross-pollination between Western and Eastern acrobatic techniques. But after the disappearance of these fairs in the eighteenth century, European and Chinese performing traditions evolved on wholly separate paths.&lt;br /&gt;
&lt;br /&gt;
===The Show Of One Hundred Skills===&lt;br /&gt;
&lt;br /&gt;
Historical records, carvings and mural paintings in tombs and grottoes (such as the brick carvings discovered in the Han Dynasty tomb of Chengdu, in the Szechuan province) date the origins of Chinese Acrobatics more than two thousands years ago, during the Warring States period. They developed mostly during the Qin and Han Dynasties (221 B.C.-220 A.D.) and reached a remarkable level of quality and refinement during the Western Han Dynasty, evolving from a simple exhibition of skills into a performing art, with a rich and eclectic repertoire including tumbling, balancing, plate spinning, pole balancing, rope dancing, etc. This acrobatic performance was known as ''The Show of One Hundred Skills''.&lt;br /&gt;
&lt;br /&gt;
Many of the Chinese acrobatic acts have evolved from the Chinese people’s everyday life, notably among peasants. Acrobats exhibiting amazing skills of strength and agility first appeared in the annual harvest celebrations of the Han Dynasty. Chinese farmers and village craftsmen, who didn’t have much to do during the long winter months, decided to spend their idle time improving their societal positions by becoming acrobats, jugglers, rope dancers, and hand balancers. &lt;br /&gt;
&lt;br /&gt;
They practiced this new art form with just anything they could find around their houses and farms&amp;amp;mdash;cups, saucers, plates, tables, chairs, pitchforks, and many other common objects. And of course their own bodies, with which they formed human columns and pyramids, also became part of their joyful attempts to make their show more attractive. Not to forget the Chinese sense of humor: Comedy was always part of these ancient shows.&lt;br /&gt;
&lt;br /&gt;
The Province of Hebei, located on the plains of North-China and bordering the Bohai Sea on the east, is considered to be &amp;quot;the cradle of acrobatic arts,&amp;quot; where the tradition of Chinese acrobatics originated two thousand years ago. Its capital is Shijiazhuang, about 250 km (190 miles) southwest of Beijing. Hebei has a rich natural scenery and abounds in historical landmarks. Such environment apparently was the ideal setting to give birth to this extraordinary art form.&lt;br /&gt;
&lt;br /&gt;
So, every year in the fall, the Chinese peasants joined in the celebration of a bountiful harvest&amp;amp;mdash;a sort of Chinese Thanksgiving. It was then that the common people would show off their skills by performing fun and exciting feats of daring, agility and strength. In time, elements of their performance became codified into the specific elements of a ritual, which eventually evolved into a performing art form.&lt;br /&gt;
&lt;br /&gt;
For instance, the ''Lion Dance'', a staple of the Chinese acrobatic theater, originated in an acrobatic dance performed by the peasants after a good harvest. It was a ritual of survival, in which the dancers displayed their renewed strength and agility, comparable to that of the lion, to celebrate Nature, which had provided them with food for the winter. Originally, its symbolism was the same all over China, and therefore so was its form. But when codified as a ritual, and then as an acrobatic specialty, it came to vary from one province to another.&lt;br /&gt;
&lt;br /&gt;
Like their European counterparts, Chinese acrobats started working locally, and when they began to realize that they could make a living out of their performances, they hit the road and traveled from one village square to another, eventually appearing on Eastern European fairgrounds. They also participated in festivals and, for the best of them, in court entertainments. They formed troupes of traveling entertainers, not unlike the mountebanks of Europe. Eventually, they developed a common repertoire that didn't change over the centuries&amp;amp;mdash;but certainly evolved in terms of technical achievements.&lt;br /&gt;
&lt;br /&gt;
===The Chinese Acrobatics Specialties=== &lt;br /&gt;
&lt;br /&gt;
The Chinese acrobatic theater is made of various acrobatic specialties that have developed in China in their own specific way. The Lion Dance, one of the most recognizable, is performed by acrobats who, under the costume of a &amp;quot;big lion&amp;quot; (involving two acrobats) or a &amp;quot;small lion&amp;quot; (involving one acrobat only), portray the lion's strength and agility as well as the quiet and playful side of his character. It evolved from an old folk dance in China, and is usually replete with symbolism that is often lost on audiences not familiar with the subtleties of Chinese culture. In the same vein, Chinese acrobats perform the Dragon Dance under the costume of a serpent-like dragon, which generally remains purely a dance display. &lt;br /&gt;
&lt;br /&gt;
Cycling acrobatics were imported to China in the nineteenth century, but the Chinese made it a specialty of their own, one that has known in China a spectacular evolution. They are performed on stationary bicycles (and they are then balancing acts performed by one or several acrobats) or on moving bicycles and unicycles. The most spectacular figure in a Chinese bicycle act is of course the &amp;quot;peacock&amp;quot; finale in which a large group of acrobats riding a single bicycle organize themselves in a tableau representing a peacock fanning its feathers. &lt;br /&gt;
&lt;br /&gt;
Tight wire or slack wire both evolved from traditional rope dancing, which appeared in China during the Han Dynasty (206 BCE-220 CE), more than 2000 years ago. Magic is also part of the Chinese Acrobatic Theater, in its more ancient and traditional form: In it, the magician wears a large robe from under which he or she produces a vast quantity of water bowls of all sizes with live fishes swimming in them, or braziers with burning fire; catching fishes in the air is also part of the repertoire of Chinese magicians, as well as amazing card manipulations. &lt;br /&gt;
&lt;br /&gt;
Hoop diving is another staple of Chinese acrobatics. It appeared also during the Han Dynasty, and was known originally as &amp;quot;Swallow Play&amp;quot; because the performers were supposed to imitate the movements of swallows as they jumped through narrow rings piled upon one another. The Chinese now call it &amp;quot;Dashing Through Narrows&amp;quot; (literal translation). Another staple of Chinese acrobatics (and acrobats all around the world) is of course acrobatic tumbling, known in China as ''Wushu''. Teeterboard is also an old Chinese specialty (which perhaps originated in Korea) with an international flavor.&lt;br /&gt;
&lt;br /&gt;
Meteor juggling, a uniquely Chinese specialty this time, consists in spinning a rope with two bowls filled with water attached at each end; the spinning ensemble is manipulated a little like the baton of a baton twirler, thrown up in the air while the juggler does acrobatic jumps before catching the meteor again&amp;amp;mdash;whether with his hands or on his feet, with which he or she kicks the meteor up again. Whatever the movements, the meteor never stops spinning, and the water is never spilled. &amp;quot;Pole Climbing,&amp;quot; known in the West as ''Chinese Poles'' is another old staple of traditional Chinese acrobatics: It was already described by writers some 1000 years ago.&lt;br /&gt;
&lt;br /&gt;
===Acrobatic Arts In The People’s Republic Of China===&lt;br /&gt;
&lt;br /&gt;
After the founding of the People's Republic of China in 1949, the Chinese government, following the policy they had defined as &amp;quot;Let a hundred flowers blossom and weed through the old to bring forth the new,&amp;quot; brought about a spectacular renaissance of the old acrobatic theater. Acrobatic troupes were created in each province and every major city, and were given their own theaters. The teaching was (and still is) done within the troupe, old performers training the new generation. &lt;br /&gt;
&lt;br /&gt;
This led to a spectacular revival of Chinese acrobatics, made more relevant by the fact that these troupes, unhindered by language or cultural barriers, could travel abroad and generate much needed foreign currency. The Chinese communist government was quick to realize this potential, and widely supported the development of acrobatic troupes, even creating troupes within the Army or the Chinese railways. In time, each troupe acquired its own specific style and repertory, and began to compete for supremacy in one genre or another. These efforts, overseen by a governmental central organization, were encouraged and rewarded. &lt;br /&gt;
&lt;br /&gt;
The remarkable results achieved since 1949 underwent a serious setback during the Chinese Cultural Revolution (1966-1976). But this was only to see the vitality of the Chinese acrobatic theater soaring to new heights afterwards:  As a reaction to ten years of Chinese elites’ dismissal, the government replaced the bureaucrats who were heading the troupes by senior leading acrobats, thus further encouraging their artistic development.  And when China eventually began to open up to the Western world in the 1980s, the cross-pollination between East and West reappeared in a spectacular way.&lt;br /&gt;
&lt;br /&gt;
In 1981, the People’s Republic of China sent [[Dai Wengxia]]’s extraordinary Glass Pagoda act, from the [[Guangzhou Acrobatic Troupe]], to the [[Festival Mondial du Cirque de Demain]] in Paris. It was the first time a Chinese act competed in an international circus festival, and Dai Wengxia won a Gold Medal&amp;amp;mdash;while another act from the Guangzhou troupe (a Bowl Pagoda duet) won a Silver Medal. And for their first appearance in a European circus festival, Chinese acrobats started an amazing winning streak that would not abate over the years.&lt;br /&gt;
&lt;br /&gt;
By then, Chinese acrobatic troupes had indeed resumed their international tours. Then, in 1984, the [[Nanjing Acrobatic Troupe]] shared the bill of [[The Knie Dynasty|Circus Knie]], in Switzerland, with the Knie family and such Western circus stars as [[Sabú Alegria]] and [[Kris Kremo]]. The following year, the [[Tianjin Acrobatic Troupe]] participated in the [[Cirque National Alexis Gruss|French National Circus]] production of ''Paris-Pékin'', along with the troupe of [[Alexis Gruss]], which formed the core of the Cirque National. In 1988, the [[Nanjing Acrobatic Troupe]] was fully integrated in the [[Big Apple Circus]] production of ''The Big Apple Circus Meets The Monkey King''.&lt;br /&gt;
&lt;br /&gt;
===The New Chinese Acrobatic Theater===&lt;br /&gt;
&lt;br /&gt;
Major circuses began to hire Chinese acrobatic acts for their shows, not because they gave them an exotic touch, as had been mostly the case before World War II, but because they were available and, more importantly, spectacular. The Canadian trendsetting juggernaut [[Cirque du Soleil]], notably, began hiring Chinese performers in 1994, for its show ''Alegria''. There, they were asked to change their style drastically, and to adapt to the specific demands of a very successful show. &lt;br /&gt;
&lt;br /&gt;
Such experience, more than any others, had a deep influence on the Chinese acrobatic theater. Acrobatic troupes began to realize that their traditional displays, with their quaint (to Westerners) costumes, attitudes, and music, were not anymore what big potential employers such as Cirque du Soleil and [[Ringling Bros. and Barnum &amp;amp; Bailey]] were looking for; they were interested instead in the Chinese acrobats’ amazing skills, and their ability to present impressive ensemble work, and wanted to use them in a creative way in their own productions. The exotic element was on the wane.&lt;br /&gt;
&lt;br /&gt;
Not only Chinese acrobatic troupes made themselves totally available to the needs of producers around the globe, but they began to develop a new style of their own, very much inspired by Cirque du Soleil’s. The [[Flag Circus of China]] (the Army troupe of Kunming, in the Yunnan province), and the [[Guangdong Troupe]] (the Army troupe of Guanzhou), the troupe of [[Dalian Acrobatic Troupe|Dalian]] (in the Liaoning province), and Beijing's [[China Troupe]] are among the many companies that present today lavish spectacles in the &amp;quot;new style,&amp;quot; perhaps reminiscent of the Cirque du Soleil’s imagery, but with a truly Chinese flavor&amp;amp;mdash;due mostly to the often mind-blowing skill level and acrobatic combinations displayed by their performers.&lt;br /&gt;
&lt;br /&gt;
After more than two millennia of practically unchanged tradition, the Chinese acrobatic theater, like China itself, has experienced a complete transformation at the dawn of the twenty-first century. It came with the realization that, in a global civilization, it is not their peculiarities, and thus their difference, which made the Chinese acrobats attractive, but their extraordinary talent at constantly surpassing themselves, which made them the best in their specialty within a global circus community.&lt;br /&gt;
&lt;br /&gt;
==Suggester Reading==&lt;br /&gt;
&lt;br /&gt;
Fu Qifeng and Li Xining, ''A Primer of Chinese Acrobatics'' (Beijing, Foreign Languages Press, 2003) &amp;amp;mdash; ISBN 7-119-03287-9&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* History: [[Anhui Acrobatic Troupe]], [[Beijing Acrobatic Troupe]], [[Changchun Acrobatic Troupe]], [[China Acrobatic Troupe]], [[Flag Circus of China]], [[Dalian Acrobatic Troupe]], [[Flag Circus of China]], [[Guangdong Acrobatic Troupe]], [[Inner Mongolia Acrobatic Troupe]], [[Nanjing Acrobatic Troupe]], [[Shanghai Acrobatic Troupe]], [[Tianjin Acrobatic Troupe]], [[Xinjiang Acrobatic Troupe]], [[Zhengzhou Acrobatic Troupe]].&lt;br /&gt;
&lt;br /&gt;
==Image Gallery==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;Gallery&amp;gt;&lt;br /&gt;
File:Cyrk_Chinese_Show_Poster.jpeg|Poster for a Chinese troupe in Poland (1964)&lt;br /&gt;
&amp;lt;/Gallery&amp;gt;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Category:History|Chinese Acrobatic Theater, The]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=The_Chinese_Acrobatic_Theater&amp;diff=36481</id>
		<title>The Chinese Acrobatic Theater</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=The_Chinese_Acrobatic_Theater&amp;diff=36481"/>
				<updated>2021-08-20T19:50:55Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: /* Acrobatic Arts In The People’s Republic Of China */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;''By Dominique Jando''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[File:Cyrk_Chinese_Show_Poster.jpeg|right|thumb|300px|Poster for a Chinese troupe in Poland (1964)]]At the dawn of the 21st century, Chinese acrobats have pushed the limits of acrobatic skills to an extraordinary level. If the Russians and other members of the former Soviet Union have been the most inventive and skilled circus artists of the twentieth century, the Chinese, who come from a different, albeit parallel tradition, are reigning today over the world of acrobatics&amp;amp;mdash;at least technically, if not always creatively.&lt;br /&gt;
&lt;br /&gt;
Chinese acrobats can be seen in many Western circus shows; the Chinese acrobatic theater where they come from, however, is often mistakenly called &amp;quot;Chinese circus&amp;quot; in the West. Although its artists perform acts of a similar genre and share with Western circus artists a similar background&amp;amp;mdash;that of the traveling fairground entertainers&amp;amp;mdash;their craft has evolved separately, with its own history and traditions.&lt;br /&gt;
&lt;br /&gt;
Historically, the main difference between circus and Chinese acrobatic theater resides in the content of the show, and its venue. Whereas the Western circus was originally an equestrian show interspersed with acrobatic elements (see [[SHORT HISTORY OF THE CIRCUS|Short History of the Circus]]), the Chinese acrobatic theater has always been purely acrobatic, and didn’t include any form of animal training, equestrian or else&amp;amp;mdash;although trick riding exhibitions and trained animal shows existed in China, but separately from acrobatic performances. In addition, until very recently, the Chinese acrobatic theater didn't include aerial acts either. &lt;br /&gt;
&lt;br /&gt;
As for the performance venue, there is also a major difference: Because of its equestrian component, the circus has been traditionally performed in the round (thus its name), while the Chinese acrobatic theater is traditionally performed on stage. (It must be noted, however, that early European and American circus buildings often contained both a ring, for equestrian and animal performances, and a stage, for acrobatic performances and pantomimes.)&lt;br /&gt;
&lt;br /&gt;
===Cross Pollination===&lt;br /&gt;
&lt;br /&gt;
The People's Republic of China is a multi-national country, an ancient civilization with a long history and a rich and brilliant culture. Over several millennia, its peoples have created many forms of performing arts, each of them characterized by a host of schools and styles. These have followed, for centuries, a linear evolution aimed towards the extreme refinement of the skills involved in each particular art form. &lt;br /&gt;
&lt;br /&gt;
Although China started contacts with non-Asian countries more than two thousand years ago, foreign influences were absorbed and rendered with a Chinese flavor for the sole benefit of that evolution. In this peculiarity lies the most important difference between Chinese and Western cultural traditions: The latter is more organic and open to new components, whereas the Chinese tradition aims towards the perfection of already well-known elements, and the integration of new elements into the existing mold.&lt;br /&gt;
&lt;br /&gt;
The Chinese acrobatic theater followed that same development pattern. Whereas European and American circuses and circus performers were in a constant search for novelties and new techniques (driven in part by commercial needs), Chinese acrobats eventually restricted their repertoire to a set number of specialties (although it came to include over two hundred different specialties&amp;amp;mdash;which is quite a number in any respect), but they constantly improved their presentation and increased the level of difficulty of the tricks involved, in search of an elusive perfection.&lt;br /&gt;
&lt;br /&gt;
European circus troupes made their first visits to China in the early nineteenth century. The [[The Tourniaire Family|Tourniaires]], [[Giuseppe Chiarini]], and the flamboyant [[Louis Soullier]] certainly made their mark on the Middle Kingdom, but their tours resulted principally in exporting Chinese acrobatic specialties to the West&amp;amp;mdash;such as perch pole balancing and plate spinning&amp;amp;mdash;rather than having any decisive influence on the Chinese acrobatic tradition. (Later, the acrobatic bicycle will be one of the rare Western additions to the traditional Chinese acrobatic repertoire.)&lt;br /&gt;
&lt;br /&gt;
Chinese itinerant entertainers, however, had already met with their European counterparts in the giant medieval fairs of Eastern Europe, which had already created cross-pollination between Western and Eastern acrobatic techniques. But after the disappearance of these fairs in the eighteenth century, European and Chinese performing traditions evolved on wholly separate paths.&lt;br /&gt;
&lt;br /&gt;
===The Show Of One Hundred Skills===&lt;br /&gt;
&lt;br /&gt;
Historical records, carvings and mural paintings in tombs and grottoes (such as the brick carvings discovered in the Han Dynasty tomb of Chengdu, in the Szechuan province) date the origins of Chinese Acrobatics more than two thousands years ago, during the Warring States period. They developed mostly during the Qin and Han Dynasties (221 B.C.-230 A.D.) and reached a remarkable level of quality and refinement during the Western Han Dynasty, evolving from a simple exhibition of skills into a performing art, with a rich and eclectic repertoire including tumbling, balancing, plate spinning, pole balancing, rope dancing, etc. This acrobatic performance was known as ''The Show of One Hundred Skills''.&lt;br /&gt;
&lt;br /&gt;
Many of the Chinese acrobatic acts have evolved from the Chinese people’s everyday life, notably among peasants. Acrobats exhibiting amazing skills of strength and agility first appeared in the annual harvest celebrations of the Han Dynasty. Chinese farmers and village craftsmen, who didn’t have much to do during the long winter months, decided to spend their idle time improving their societal positions by becoming acrobats, jugglers, rope dancers, and hand balancers. &lt;br /&gt;
&lt;br /&gt;
They practiced this new art form with just anything they could find around their houses and farms&amp;amp;mdash;cups, saucers, plates, tables, chairs, pitchforks, and many other common objects. And of course their own bodies, with which they formed human columns and pyramids, also became part of their joyful attempts to make their show more attractive. Not to forget the Chinese sense of humor: Comedy was always part of these ancient shows.&lt;br /&gt;
&lt;br /&gt;
The Province of Hebei, located on the plains of North-China and bordering the Bohai Sea on the east, is considered to be &amp;quot;the cradle of acrobatic arts,&amp;quot; where the tradition of Chinese acrobatics originated two thousand years ago. Its capital is Shijiazhuang, about 250 km (190 miles) southwest of Beijing. Hebei has a rich natural scenery and abounds in historical landmarks. Such environment apparently was the ideal setting to give birth to this extraordinary art form.&lt;br /&gt;
&lt;br /&gt;
So, every year in the fall, the Chinese peasants joined in the celebration of a bountiful harvest&amp;amp;mdash;a sort of Chinese Thanksgiving. It was then that the common people would show off their skills by performing fun and exciting feats of daring, agility and strength. In time, elements of their performance became codified into the specific elements of a ritual, which eventually evolved into a performing art form.&lt;br /&gt;
&lt;br /&gt;
For instance, the ''Lion Dance'', a staple of the Chinese acrobatic theater, originated in an acrobatic dance performed by the peasants after a good harvest. It was a ritual of survival, in which the dancers displayed their renewed strength and agility, comparable to that of the lion, to celebrate Nature, which had provided them with food for the winter. Originally, its symbolism was the same all over China, and therefore so was its form. But when codified as a ritual, and then as an acrobatic specialty, it came to vary from one province to another.&lt;br /&gt;
&lt;br /&gt;
Like their European counterparts, Chinese acrobats started working locally, and when they began to realize that they could make a living out of their performances, they hit the road and traveled from one village square to another, eventually appearing on Eastern European fairgrounds. They also participated in festivals and, for the best of them, in court entertainments. They formed troupes of traveling entertainers, not unlike the mountebanks of Europe. Eventually, they developed a common repertoire that didn't change over the centuries&amp;amp;mdash;but certainly evolved in terms of technical achievements.&lt;br /&gt;
&lt;br /&gt;
===The Chinese Acrobatics Specialties=== &lt;br /&gt;
&lt;br /&gt;
The Chinese acrobatic theater is made of various acrobatic specialties that have developed in China in their own specific way. The Lion Dance, one of the most recognizable, is performed by acrobats who, under the costume of a &amp;quot;big lion&amp;quot; (involving two acrobats) or a &amp;quot;small lion&amp;quot; (involving one acrobat only), portray the lion's strength and agility as well as the quiet and playful side of his character. It evolved from an old folk dance in China, and is usually replete with symbolism that is often lost on audiences not familiar with the subtleties of Chinese culture. In the same vein, Chinese acrobats perform the Dragon Dance under the costume of a serpent-like dragon, which generally remains purely a dance display. &lt;br /&gt;
&lt;br /&gt;
Cycling acrobatics were imported to China in the nineteenth century, but the Chinese made it a specialty of their own, one that has known in China a spectacular evolution. They are performed on stationary bicycles (and they are then balancing acts performed by one or several acrobats) or on moving bicycles and unicycles. The most spectacular figure in a Chinese bicycle act is of course the &amp;quot;peacock&amp;quot; finale in which a large group of acrobats riding a single bicycle organize themselves in a tableau representing a peacock fanning its feathers. &lt;br /&gt;
&lt;br /&gt;
Tight wire or slack wire both evolved from traditional rope dancing, which appeared in China during the Han Dynasty (206 BCE-220 CE), more than 2000 years ago. Magic is also part of the Chinese Acrobatic Theater, in its more ancient and traditional form: In it, the magician wears a large robe from under which he or she produces a vast quantity of water bowls of all sizes with live fishes swimming in them, or braziers with burning fire; catching fishes in the air is also part of the repertoire of Chinese magicians, as well as amazing card manipulations. &lt;br /&gt;
&lt;br /&gt;
Hoop diving is another staple of Chinese acrobatics. It appeared also during the Han Dynasty, and was known originally as &amp;quot;Swallow Play&amp;quot; because the performers were supposed to imitate the movements of swallows as they jumped through narrow rings piled upon one another. The Chinese now call it &amp;quot;Dashing Through Narrows&amp;quot; (literal translation). Another staple of Chinese acrobatics (and acrobats all around the world) is of course acrobatic tumbling, known in China as ''Wushu''. Teeterboard is also an old Chinese specialty (which perhaps originated in Korea) with an international flavor.&lt;br /&gt;
&lt;br /&gt;
Meteor juggling, a uniquely Chinese specialty this time, consists in spinning a rope with two bowls filled with water attached at each end; the spinning ensemble is manipulated a little like the baton of a baton twirler, thrown up in the air while the juggler does acrobatic jumps before catching the meteor again&amp;amp;mdash;whether with his hands or on his feet, with which he or she kicks the meteor up again. Whatever the movements, the meteor never stops spinning, and the water is never spilled. &amp;quot;Pole Climbing,&amp;quot; known in the West as ''Chinese Poles'' is another old staple of traditional Chinese acrobatics: It was already described by writers some 1000 years ago.&lt;br /&gt;
&lt;br /&gt;
===Acrobatic Arts In The People’s Republic Of China===&lt;br /&gt;
&lt;br /&gt;
After the founding of the People's Republic of China in 1949, the Chinese government, following the policy they had defined as &amp;quot;Let a hundred flowers blossom and weed through the old to bring forth the new,&amp;quot; brought about a spectacular renaissance of the old acrobatic theater. Acrobatic troupes were created in each province and every major city, and were given their own theaters. The teaching was (and still is) done within the troupe, old performers training the new generation. &lt;br /&gt;
&lt;br /&gt;
This led to a spectacular revival of Chinese acrobatics, made more relevant by the fact that these troupes, unhindered by language or cultural barriers, could travel abroad and generate much needed foreign currency. The Chinese communist government was quick to realize this potential, and widely supported the development of acrobatic troupes, even creating troupes within the Army or the Chinese railways. In time, each troupe acquired its own specific style and repertory, and began to compete for supremacy in one genre or another. These efforts, overseen by a governmental central organization, were encouraged and rewarded. &lt;br /&gt;
&lt;br /&gt;
The remarkable results achieved since 1949 underwent a serious setback during the Chinese Cultural Revolution (1966-1976). But this was only to see the vitality of the Chinese acrobatic theater soaring to new heights afterwards:  As a reaction to ten years of Chinese elites’ dismissal, the government replaced the bureaucrats who were heading the troupes by senior leading acrobats, thus further encouraging their artistic development.  And when China eventually began to open up to the Western world in the 1980s, the cross-pollination between East and West reappeared in a spectacular way.&lt;br /&gt;
&lt;br /&gt;
In 1981, the People’s Republic of China sent [[Dai Wengxia]]’s extraordinary Glass Pagoda act, from the [[Guangzhou Acrobatic Troupe]], to the [[Festival Mondial du Cirque de Demain]] in Paris. It was the first time a Chinese act competed in an international circus festival, and Dai Wengxia won a Gold Medal&amp;amp;mdash;while another act from the Guangzhou troupe (a Bowl Pagoda duet) won a Silver Medal. And for their first appearance in a European circus festival, Chinese acrobats started an amazing winning streak that would not abate over the years.&lt;br /&gt;
&lt;br /&gt;
By then, Chinese acrobatic troupes had indeed resumed their international tours. Then, in 1984, the [[Nanjing Acrobatic Troupe]] shared the bill of [[The Knie Dynasty|Circus Knie]], in Switzerland, with the Knie family and such Western circus stars as [[Sabú Alegria]] and [[Kris Kremo]]. The following year, the [[Tianjin Acrobatic Troupe]] participated in the [[Cirque National Alexis Gruss|French National Circus]] production of ''Paris-Pékin'', along with the troupe of [[Alexis Gruss]], which formed the core of the Cirque National. In 1988, the [[Nanjing Acrobatic Troupe]] was fully integrated in the [[Big Apple Circus]] production of ''The Big Apple Circus Meets The Monkey King''.&lt;br /&gt;
&lt;br /&gt;
===The New Chinese Acrobatic Theater===&lt;br /&gt;
&lt;br /&gt;
Major circuses began to hire Chinese acrobatic acts for their shows, not because they gave them an exotic touch, as had been mostly the case before World War II, but because they were available and, more importantly, spectacular. The Canadian trendsetting juggernaut [[Cirque du Soleil]], notably, began hiring Chinese performers in 1994, for its show ''Alegria''. There, they were asked to change their style drastically, and to adapt to the specific demands of a very successful show. &lt;br /&gt;
&lt;br /&gt;
Such experience, more than any others, had a deep influence on the Chinese acrobatic theater. Acrobatic troupes began to realize that their traditional displays, with their quaint (to Westerners) costumes, attitudes, and music, were not anymore what big potential employers such as Cirque du Soleil and [[Ringling Bros. and Barnum &amp;amp; Bailey]] were looking for; they were interested instead in the Chinese acrobats’ amazing skills, and their ability to present impressive ensemble work, and wanted to use them in a creative way in their own productions. The exotic element was on the wane.&lt;br /&gt;
&lt;br /&gt;
Not only Chinese acrobatic troupes made themselves totally available to the needs of producers around the globe, but they began to develop a new style of their own, very much inspired by Cirque du Soleil’s. The [[Flag Circus of China]] (the Army troupe of Kunming, in the Yunnan province), and the [[Guangdong Troupe]] (the Army troupe of Guanzhou), the troupe of [[Dalian Acrobatic Troupe|Dalian]] (in the Liaoning province), and Beijing's [[China Troupe]] are among the many companies that present today lavish spectacles in the &amp;quot;new style,&amp;quot; perhaps reminiscent of the Cirque du Soleil’s imagery, but with a truly Chinese flavor&amp;amp;mdash;due mostly to the often mind-blowing skill level and acrobatic combinations displayed by their performers.&lt;br /&gt;
&lt;br /&gt;
After more than two millennia of practically unchanged tradition, the Chinese acrobatic theater, like China itself, has experienced a complete transformation at the dawn of the twenty-first century. It came with the realization that, in a global civilization, it is not their peculiarities, and thus their difference, which made the Chinese acrobats attractive, but their extraordinary talent at constantly surpassing themselves, which made them the best in their specialty within a global circus community.&lt;br /&gt;
&lt;br /&gt;
==Suggester Reading==&lt;br /&gt;
&lt;br /&gt;
Fu Qifeng and Li Xining, ''A Primer of Chinese Acrobatics'' (Beijing, Foreign Languages Press, 2003) &amp;amp;mdash; ISBN 7-119-03287-9&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* History: [[Anhui Acrobatic Troupe]], [[Beijing Acrobatic Troupe]], [[Changchun Acrobatic Troupe]], [[China Acrobatic Troupe]], [[Flag Circus of China]], [[Dalian Acrobatic Troupe]], [[Flag Circus of China]], [[Guangdong Acrobatic Troupe]], [[Inner Mongolia Acrobatic Troupe]], [[Nanjing Acrobatic Troupe]], [[Shanghai Acrobatic Troupe]], [[Tianjin Acrobatic Troupe]], [[Xinjiang Acrobatic Troupe]], [[Zhengzhou Acrobatic Troupe]].&lt;br /&gt;
&lt;br /&gt;
==Image Gallery==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;Gallery&amp;gt;&lt;br /&gt;
File:Cyrk_Chinese_Show_Poster.jpeg|Poster for a Chinese troupe in Poland (1964)&lt;br /&gt;
&amp;lt;/Gallery&amp;gt;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Category:History|Chinese Acrobatic Theater, The]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=The_Chinese_Acrobatic_Theater&amp;diff=36480</id>
		<title>The Chinese Acrobatic Theater</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=The_Chinese_Acrobatic_Theater&amp;diff=36480"/>
				<updated>2021-08-20T19:41:54Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: /* The Show Of One Hundred Skills */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;''By Dominique Jando''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[File:Cyrk_Chinese_Show_Poster.jpeg|right|thumb|300px|Poster for a Chinese troupe in Poland (1964)]]At the dawn of the 21st century, Chinese acrobats have pushed the limits of acrobatic skills to an extraordinary level. If the Russians and other members of the former Soviet Union have been the most inventive and skilled circus artists of the twentieth century, the Chinese, who come from a different, albeit parallel tradition, are reigning today over the world of acrobatics&amp;amp;mdash;at least technically, if not always creatively.&lt;br /&gt;
&lt;br /&gt;
Chinese acrobats can be seen in many Western circus shows; the Chinese acrobatic theater where they come from, however, is often mistakenly called &amp;quot;Chinese circus&amp;quot; in the West. Although its artists perform acts of a similar genre and share with Western circus artists a similar background&amp;amp;mdash;that of the traveling fairground entertainers&amp;amp;mdash;their craft has evolved separately, with its own history and traditions.&lt;br /&gt;
&lt;br /&gt;
Historically, the main difference between circus and Chinese acrobatic theater resides in the content of the show, and its venue. Whereas the Western circus was originally an equestrian show interspersed with acrobatic elements (see [[SHORT HISTORY OF THE CIRCUS|Short History of the Circus]]), the Chinese acrobatic theater has always been purely acrobatic, and didn’t include any form of animal training, equestrian or else&amp;amp;mdash;although trick riding exhibitions and trained animal shows existed in China, but separately from acrobatic performances. In addition, until very recently, the Chinese acrobatic theater didn't include aerial acts either. &lt;br /&gt;
&lt;br /&gt;
As for the performance venue, there is also a major difference: Because of its equestrian component, the circus has been traditionally performed in the round (thus its name), while the Chinese acrobatic theater is traditionally performed on stage. (It must be noted, however, that early European and American circus buildings often contained both a ring, for equestrian and animal performances, and a stage, for acrobatic performances and pantomimes.)&lt;br /&gt;
&lt;br /&gt;
===Cross Pollination===&lt;br /&gt;
&lt;br /&gt;
The People's Republic of China is a multi-national country, an ancient civilization with a long history and a rich and brilliant culture. Over several millennia, its peoples have created many forms of performing arts, each of them characterized by a host of schools and styles. These have followed, for centuries, a linear evolution aimed towards the extreme refinement of the skills involved in each particular art form. &lt;br /&gt;
&lt;br /&gt;
Although China started contacts with non-Asian countries more than two thousand years ago, foreign influences were absorbed and rendered with a Chinese flavor for the sole benefit of that evolution. In this peculiarity lies the most important difference between Chinese and Western cultural traditions: The latter is more organic and open to new components, whereas the Chinese tradition aims towards the perfection of already well-known elements, and the integration of new elements into the existing mold.&lt;br /&gt;
&lt;br /&gt;
The Chinese acrobatic theater followed that same development pattern. Whereas European and American circuses and circus performers were in a constant search for novelties and new techniques (driven in part by commercial needs), Chinese acrobats eventually restricted their repertoire to a set number of specialties (although it came to include over two hundred different specialties&amp;amp;mdash;which is quite a number in any respect), but they constantly improved their presentation and increased the level of difficulty of the tricks involved, in search of an elusive perfection.&lt;br /&gt;
&lt;br /&gt;
European circus troupes made their first visits to China in the early nineteenth century. The [[The Tourniaire Family|Tourniaires]], [[Giuseppe Chiarini]], and the flamboyant [[Louis Soullier]] certainly made their mark on the Middle Kingdom, but their tours resulted principally in exporting Chinese acrobatic specialties to the West&amp;amp;mdash;such as perch pole balancing and plate spinning&amp;amp;mdash;rather than having any decisive influence on the Chinese acrobatic tradition. (Later, the acrobatic bicycle will be one of the rare Western additions to the traditional Chinese acrobatic repertoire.)&lt;br /&gt;
&lt;br /&gt;
Chinese itinerant entertainers, however, had already met with their European counterparts in the giant medieval fairs of Eastern Europe, which had already created cross-pollination between Western and Eastern acrobatic techniques. But after the disappearance of these fairs in the eighteenth century, European and Chinese performing traditions evolved on wholly separate paths.&lt;br /&gt;
&lt;br /&gt;
===The Show Of One Hundred Skills===&lt;br /&gt;
&lt;br /&gt;
Historical records, carvings and mural paintings in tombs and grottoes (such as the brick carvings discovered in the Han Dynasty tomb of Chengdu, in the Szechuan province) date the origins of Chinese Acrobatics more than two thousands years ago, during the Warring States period. They developed mostly during the Qin and Han Dynasties (221 B.C.-230 A.D.) and reached a remarkable level of quality and refinement during the Western Han Dynasty, evolving from a simple exhibition of skills into a performing art, with a rich and eclectic repertoire including tumbling, balancing, plate spinning, pole balancing, rope dancing, etc. This acrobatic performance was known as ''The Show of One Hundred Skills''.&lt;br /&gt;
&lt;br /&gt;
Many of the Chinese acrobatic acts have evolved from the Chinese people’s everyday life, notably among peasants. Acrobats exhibiting amazing skills of strength and agility first appeared in the annual harvest celebrations of the Han Dynasty. Chinese farmers and village craftsmen, who didn’t have much to do during the long winter months, decided to spend their idle time improving their societal positions by becoming acrobats, jugglers, rope dancers, and hand balancers. &lt;br /&gt;
&lt;br /&gt;
They practiced this new art form with just anything they could find around their houses and farms&amp;amp;mdash;cups, saucers, plates, tables, chairs, pitchforks, and many other common objects. And of course their own bodies, with which they formed human columns and pyramids, also became part of their joyful attempts to make their show more attractive. Not to forget the Chinese sense of humor: Comedy was always part of these ancient shows.&lt;br /&gt;
&lt;br /&gt;
The Province of Hebei, located on the plains of North-China and bordering the Bohai Sea on the east, is considered to be &amp;quot;the cradle of acrobatic arts,&amp;quot; where the tradition of Chinese acrobatics originated two thousand years ago. Its capital is Shijiazhuang, about 250 km (190 miles) southwest of Beijing. Hebei has a rich natural scenery and abounds in historical landmarks. Such environment apparently was the ideal setting to give birth to this extraordinary art form.&lt;br /&gt;
&lt;br /&gt;
So, every year in the fall, the Chinese peasants joined in the celebration of a bountiful harvest&amp;amp;mdash;a sort of Chinese Thanksgiving. It was then that the common people would show off their skills by performing fun and exciting feats of daring, agility and strength. In time, elements of their performance became codified into the specific elements of a ritual, which eventually evolved into a performing art form.&lt;br /&gt;
&lt;br /&gt;
For instance, the ''Lion Dance'', a staple of the Chinese acrobatic theater, originated in an acrobatic dance performed by the peasants after a good harvest. It was a ritual of survival, in which the dancers displayed their renewed strength and agility, comparable to that of the lion, to celebrate Nature, which had provided them with food for the winter. Originally, its symbolism was the same all over China, and therefore so was its form. But when codified as a ritual, and then as an acrobatic specialty, it came to vary from one province to another.&lt;br /&gt;
&lt;br /&gt;
Like their European counterparts, Chinese acrobats started working locally, and when they began to realize that they could make a living out of their performances, they hit the road and traveled from one village square to another, eventually appearing on Eastern European fairgrounds. They also participated in festivals and, for the best of them, in court entertainments. They formed troupes of traveling entertainers, not unlike the mountebanks of Europe. Eventually, they developed a common repertoire that didn't change over the centuries&amp;amp;mdash;but certainly evolved in terms of technical achievements.&lt;br /&gt;
&lt;br /&gt;
===The Chinese Acrobatics Specialties=== &lt;br /&gt;
&lt;br /&gt;
The Chinese acrobatic theater is made of various acrobatic specialties that have developed in China in their own specific way. The Lion Dance, one of the most recognizable, is performed by acrobats who, under the costume of a &amp;quot;big lion&amp;quot; (involving two acrobats) or a &amp;quot;small lion&amp;quot; (involving one acrobat only), portray the lion's strength and agility as well as the quiet and playful side of his character. It evolved from an old folk dance in China, and is usually replete with symbolism that is often lost on audiences not familiar with the subtleties of Chinese culture. In the same vein, Chinese acrobats perform the Dragon Dance under the costume of a serpent-like dragon, which generally remains purely a dance display. &lt;br /&gt;
&lt;br /&gt;
Cycling acrobatics were imported to China in the nineteenth century, but the Chinese made it a specialty of their own, one that has known in China a spectacular evolution. They are performed on stationary bicycles (and they are then balancing acts performed by one or several acrobats) or on moving bicycles and unicycles. The most spectacular figure in a Chinese bicycle act is of course the &amp;quot;peacock&amp;quot; finale in which a large group of acrobats riding a single bicycle organize themselves in a tableau representing a peacock fanning its feathers. &lt;br /&gt;
&lt;br /&gt;
Tight wire or slack wire both evolved from traditional rope dancing, which appeared in China during the Han Dynasty (206 BCE-220 CE), more than 2000 years ago. Magic is also part of the Chinese Acrobatic Theater, in its more ancient and traditional form: In it, the magician wears a large robe from under which he or she produces a vast quantity of water bowls of all sizes with live fishes swimming in them, or braziers with burning fire; catching fishes in the air is also part of the repertoire of Chinese magicians, as well as amazing card manipulations. &lt;br /&gt;
&lt;br /&gt;
Hoop diving is another staple of Chinese acrobatics. It appeared also during the Han Dynasty, and was known originally as &amp;quot;Swallow Play&amp;quot; because the performers were supposed to imitate the movements of swallows as they jumped through narrow rings piled upon one another. The Chinese now call it &amp;quot;Dashing Through Narrows&amp;quot; (literal translation). Another staple of Chinese acrobatics (and acrobats all around the world) is of course acrobatic tumbling, known in China as ''Wushu''. Teeterboard is also an old Chinese specialty (which perhaps originated in Korea) with an international flavor.&lt;br /&gt;
&lt;br /&gt;
Meteor juggling, a uniquely Chinese specialty this time, consists in spinning a rope with two bowls filled with water attached at each end; the spinning ensemble is manipulated a little like the baton of a baton twirler, thrown up in the air while the juggler does acrobatic jumps before catching the meteor again&amp;amp;mdash;whether with his hands or on his feet, with which he or she kicks the meteor up again. Whatever the movements, the meteor never stops spinning, and the water is never spilled. &amp;quot;Pole Climbing,&amp;quot; known in the West as ''Chinese Poles'' is another old staple of traditional Chinese acrobatics: It was already described by writers some 1000 years ago.&lt;br /&gt;
&lt;br /&gt;
===Acrobatic Arts In The People’s Republic Of China===&lt;br /&gt;
&lt;br /&gt;
After the founding of the People's Republic of China in 1949, the Chinese government, following the policy they had defined as &amp;quot;Let a hundred flowers blossom and weed through the old to bring forth the new,&amp;quot; brought about a spectacular renaissance of the old acrobatic theater. Acrobatic troupes were created in each province and every major city, and were given their own theaters. The teaching was (and still is) done within the troupe, old performers training the new generation. &lt;br /&gt;
&lt;br /&gt;
This led to a spectacular revival of Chinese acrobatics, made more relevant by the fact that these troupes, unhindered by language or cultural barriers, could travel abroad and generate much needed foreign currency. The Chinese communist government was quick to realize this potential, and widely supported the development of acrobatic troupes, even creating troupes within the Army or the Chinese railways. In time, each troupe acquired its own specific style and repertory, and began to compete for supremacy in one genre or another. These efforts, overseen by a governmental central organization, were encouraged and rewarded. &lt;br /&gt;
&lt;br /&gt;
The remarkable results achieved since 1949 underwent a serious setback during the Chinese Cultural Revolution (1966-1976). But this was only to see the vitality of the Chinese acrobatic theater soaring to new heights afterwards:  As a reaction to ten years of Chinese elites’ dismissal, the government replaced the bureaucrats who were heading the troupes by senior leading acrobats, thus further encouraging their artistic development.  And when China eventually began to open up to the Western world in the 1980s, the cross-pollination between East and West reappeared in a spectacular way.&lt;br /&gt;
&lt;br /&gt;
In 1981, the People’s Republic of China sent [[Dai Wengxia]]’s extraordinary Glass Pagoda act, from the [[Guangzhou Acrobatic Troupe]], to the [[Festival Mondial du Cirque de Demain]] in Paris. It was the first time a Chinese act competed in an international circus festival, and Dai Wengxia won a Gold Medal&amp;amp;mdash;while another act from the Guangzhou troupe (a Bowl Pagoda duet) won a Silver Medal. And for their first appearance in a European circus festival, Chinese acrobats started an amazing winning streak that would not abate over the years.&lt;br /&gt;
&lt;br /&gt;
By then, Chinese acrobatic troupes had indeed resumed their international tours. Then, in 1984, the [[Nanjing Acrobatic Troupe]] shared the bill of [[The Knie Dynasty|Circus Knie]], in Switzerland, with the Knie family and such Western circus stars as [[Sabú Alegria]] and [[Kris Kremo]]. The following year, the [[Tianjin Acrobatic Troupe]] participated in the [[Cirque National Alexis Gruss|French National Circus]] production of ''Paris-Pékin'', along with the troupe of [[Alexis Gruss]], which formed the core of the Cirque National. In 1988, the Nanjing Acrobatic Troupe was fully integrated in the [[Big Apple Circus]] production of ''The Big Apple Circus Meets The Monkey King''.&lt;br /&gt;
&lt;br /&gt;
===The New Chinese Acrobatic Theater===&lt;br /&gt;
&lt;br /&gt;
Major circuses began to hire Chinese acrobatic acts for their shows, not because they gave them an exotic touch, as had been mostly the case before World War II, but because they were available and, more importantly, spectacular. The Canadian trendsetting juggernaut [[Cirque du Soleil]], notably, began hiring Chinese performers in 1994, for its show ''Alegria''. There, they were asked to change their style drastically, and to adapt to the specific demands of a very successful show. &lt;br /&gt;
&lt;br /&gt;
Such experience, more than any others, had a deep influence on the Chinese acrobatic theater. Acrobatic troupes began to realize that their traditional displays, with their quaint (to Westerners) costumes, attitudes, and music, were not anymore what big potential employers such as Cirque du Soleil and [[Ringling Bros. and Barnum &amp;amp; Bailey]] were looking for; they were interested instead in the Chinese acrobats’ amazing skills, and their ability to present impressive ensemble work, and wanted to use them in a creative way in their own productions. The exotic element was on the wane.&lt;br /&gt;
&lt;br /&gt;
Not only Chinese acrobatic troupes made themselves totally available to the needs of producers around the globe, but they began to develop a new style of their own, very much inspired by Cirque du Soleil’s. The [[Flag Circus of China]] (the Army troupe of Kunming, in the Yunnan province), and the [[Guangdong Troupe]] (the Army troupe of Guanzhou), the troupe of [[Dalian Acrobatic Troupe|Dalian]] (in the Liaoning province), and Beijing's [[China Troupe]] are among the many companies that present today lavish spectacles in the &amp;quot;new style,&amp;quot; perhaps reminiscent of the Cirque du Soleil’s imagery, but with a truly Chinese flavor&amp;amp;mdash;due mostly to the often mind-blowing skill level and acrobatic combinations displayed by their performers.&lt;br /&gt;
&lt;br /&gt;
After more than two millennia of practically unchanged tradition, the Chinese acrobatic theater, like China itself, has experienced a complete transformation at the dawn of the twenty-first century. It came with the realization that, in a global civilization, it is not their peculiarities, and thus their difference, which made the Chinese acrobats attractive, but their extraordinary talent at constantly surpassing themselves, which made them the best in their specialty within a global circus community.&lt;br /&gt;
&lt;br /&gt;
==Suggester Reading==&lt;br /&gt;
&lt;br /&gt;
Fu Qifeng and Li Xining, ''A Primer of Chinese Acrobatics'' (Beijing, Foreign Languages Press, 2003) &amp;amp;mdash; ISBN 7-119-03287-9&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* History: [[Anhui Acrobatic Troupe]], [[Beijing Acrobatic Troupe]], [[Changchun Acrobatic Troupe]], [[China Acrobatic Troupe]], [[Flag Circus of China]], [[Dalian Acrobatic Troupe]], [[Flag Circus of China]], [[Guangdong Acrobatic Troupe]], [[Inner Mongolia Acrobatic Troupe]], [[Nanjing Acrobatic Troupe]], [[Shanghai Acrobatic Troupe]], [[Tianjin Acrobatic Troupe]], [[Xinjiang Acrobatic Troupe]], [[Zhengzhou Acrobatic Troupe]].&lt;br /&gt;
&lt;br /&gt;
==Image Gallery==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;Gallery&amp;gt;&lt;br /&gt;
File:Cyrk_Chinese_Show_Poster.jpeg|Poster for a Chinese troupe in Poland (1964)&lt;br /&gt;
&amp;lt;/Gallery&amp;gt;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Category:History|Chinese Acrobatic Theater, The]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=The_Chinese_Acrobatic_Theater&amp;diff=36479</id>
		<title>The Chinese Acrobatic Theater</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=The_Chinese_Acrobatic_Theater&amp;diff=36479"/>
				<updated>2021-08-20T19:41:09Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: /* The Show Of One Hundred Skills */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;''By Dominique Jando''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[File:Cyrk_Chinese_Show_Poster.jpeg|right|thumb|300px|Poster for a Chinese troupe in Poland (1964)]]At the dawn of the 21st century, Chinese acrobats have pushed the limits of acrobatic skills to an extraordinary level. If the Russians and other members of the former Soviet Union have been the most inventive and skilled circus artists of the twentieth century, the Chinese, who come from a different, albeit parallel tradition, are reigning today over the world of acrobatics&amp;amp;mdash;at least technically, if not always creatively.&lt;br /&gt;
&lt;br /&gt;
Chinese acrobats can be seen in many Western circus shows; the Chinese acrobatic theater where they come from, however, is often mistakenly called &amp;quot;Chinese circus&amp;quot; in the West. Although its artists perform acts of a similar genre and share with Western circus artists a similar background&amp;amp;mdash;that of the traveling fairground entertainers&amp;amp;mdash;their craft has evolved separately, with its own history and traditions.&lt;br /&gt;
&lt;br /&gt;
Historically, the main difference between circus and Chinese acrobatic theater resides in the content of the show, and its venue. Whereas the Western circus was originally an equestrian show interspersed with acrobatic elements (see [[SHORT HISTORY OF THE CIRCUS|Short History of the Circus]]), the Chinese acrobatic theater has always been purely acrobatic, and didn’t include any form of animal training, equestrian or else&amp;amp;mdash;although trick riding exhibitions and trained animal shows existed in China, but separately from acrobatic performances. In addition, until very recently, the Chinese acrobatic theater didn't include aerial acts either. &lt;br /&gt;
&lt;br /&gt;
As for the performance venue, there is also a major difference: Because of its equestrian component, the circus has been traditionally performed in the round (thus its name), while the Chinese acrobatic theater is traditionally performed on stage. (It must be noted, however, that early European and American circus buildings often contained both a ring, for equestrian and animal performances, and a stage, for acrobatic performances and pantomimes.)&lt;br /&gt;
&lt;br /&gt;
===Cross Pollination===&lt;br /&gt;
&lt;br /&gt;
The People's Republic of China is a multi-national country, an ancient civilization with a long history and a rich and brilliant culture. Over several millennia, its peoples have created many forms of performing arts, each of them characterized by a host of schools and styles. These have followed, for centuries, a linear evolution aimed towards the extreme refinement of the skills involved in each particular art form. &lt;br /&gt;
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Although China started contacts with non-Asian countries more than two thousand years ago, foreign influences were absorbed and rendered with a Chinese flavor for the sole benefit of that evolution. In this peculiarity lies the most important difference between Chinese and Western cultural traditions: The latter is more organic and open to new components, whereas the Chinese tradition aims towards the perfection of already well-known elements, and the integration of new elements into the existing mold.&lt;br /&gt;
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The Chinese acrobatic theater followed that same development pattern. Whereas European and American circuses and circus performers were in a constant search for novelties and new techniques (driven in part by commercial needs), Chinese acrobats eventually restricted their repertoire to a set number of specialties (although it came to include over two hundred different specialties&amp;amp;mdash;which is quite a number in any respect), but they constantly improved their presentation and increased the level of difficulty of the tricks involved, in search of an elusive perfection.&lt;br /&gt;
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European circus troupes made their first visits to China in the early nineteenth century. The [[The Tourniaire Family|Tourniaires]], [[Giuseppe Chiarini]], and the flamboyant [[Louis Soullier]] certainly made their mark on the Middle Kingdom, but their tours resulted principally in exporting Chinese acrobatic specialties to the West&amp;amp;mdash;such as perch pole balancing and plate spinning&amp;amp;mdash;rather than having any decisive influence on the Chinese acrobatic tradition. (Later, the acrobatic bicycle will be one of the rare Western additions to the traditional Chinese acrobatic repertoire.)&lt;br /&gt;
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Chinese itinerant entertainers, however, had already met with their European counterparts in the giant medieval fairs of Eastern Europe, which had already created cross-pollination between Western and Eastern acrobatic techniques. But after the disappearance of these fairs in the eighteenth century, European and Chinese performing traditions evolved on wholly separate paths.&lt;br /&gt;
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===The Show Of One Hundred Skills===&lt;br /&gt;
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Historical records, carvings and mural paintings in tombs and grottoes (such as the brick carvings discovered in the Han Dynasty tomb of Chengdu, in the Szechuan province) date the origins of Chinese Acrobatics more than two thousands years ago, during the Warring States period. They developed mostly during the Qin and Han Dynasties (221 B.C.-230 A.D.) and reached a remarkable level of quality and refinement during the Western Han Dynasty, evolving from a simple exhibition of skills into a performing art, with a rich and eclectic repertoire including tumbling, balancing, plate spinning, pole balancing, rope dancing, etc. This acrobatic performance was known as ''The Show of One Hundred Skills''.&lt;br /&gt;
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Many of the Chinese acrobatic acts have evolved from the Chinese people’s everyday life, notably among Chinese peasants. Acrobats exhibiting amazing skills of strength and agility first appeared in the annual harvest celebrations of the Han Dynasty. Chinese farmers and village craftsmen, who didn’t have much to do during the long winter months, decided to spend their idle time improving their societal positions by becoming acrobats, jugglers, rope dancers, and hand balancers. &lt;br /&gt;
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They practiced this new art form with just anything they could find around their houses and farms&amp;amp;mdash;cups, saucers, plates, tables, chairs, pitchforks, and many other common objects. And of course their own bodies, with which they formed human columns and pyramids, also became part of their joyful attempts to make their show more attractive. Not to forget the Chinese sense of humor: Comedy was always part of these ancient shows.&lt;br /&gt;
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The Province of Hebei, located on the plains of North-China and bordering the Bohai Sea on the east, is considered to be &amp;quot;the cradle of acrobatic arts,&amp;quot; where the tradition of Chinese acrobatics originated two thousand years ago. Its capital is Shijiazhuang, about 250 km (190 miles) southwest of Beijing. Hebei has a rich natural scenery and abounds in historical landmarks. Such environment apparently was the ideal setting to give birth to this extraordinary art form.&lt;br /&gt;
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So, every year in the fall, the Chinese peasants joined in the celebration of a bountiful harvest&amp;amp;mdash;a sort of Chinese Thanksgiving. It was then that the common people would show off their skills by performing fun and exciting feats of daring, agility and strength. In time, elements of their performance became codified into the specific elements of a ritual, which eventually evolved into a performing art form.&lt;br /&gt;
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For instance, the ''Lion Dance'', a staple of the Chinese acrobatic theater, originated in an acrobatic dance performed by the peasants after a good harvest. It was a ritual of survival, in which the dancers displayed their renewed strength and agility, comparable to that of the lion, to celebrate Nature, which had provided them with food for the winter. Originally, its symbolism was the same all over China, and therefore so was its form. But when codified as a ritual, and then as an acrobatic specialty, it came to vary from one province to another.&lt;br /&gt;
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Like their European counterparts, Chinese acrobats started working locally, and when they began to realize that they could make a living out of their performances, they hit the road and traveled from one village square to another, eventually appearing on Eastern European fairgrounds. They also participated in festivals and, for the best of them, in court entertainments. They formed troupes of traveling entertainers, not unlike the mountebanks of Europe. Eventually, they developed a common repertoire that didn't change over the centuries&amp;amp;mdash;but certainly evolved in terms of technical achievements.&lt;br /&gt;
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===The Chinese Acrobatics Specialties=== &lt;br /&gt;
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The Chinese acrobatic theater is made of various acrobatic specialties that have developed in China in their own specific way. The Lion Dance, one of the most recognizable, is performed by acrobats who, under the costume of a &amp;quot;big lion&amp;quot; (involving two acrobats) or a &amp;quot;small lion&amp;quot; (involving one acrobat only), portray the lion's strength and agility as well as the quiet and playful side of his character. It evolved from an old folk dance in China, and is usually replete with symbolism that is often lost on audiences not familiar with the subtleties of Chinese culture. In the same vein, Chinese acrobats perform the Dragon Dance under the costume of a serpent-like dragon, which generally remains purely a dance display. &lt;br /&gt;
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Cycling acrobatics were imported to China in the nineteenth century, but the Chinese made it a specialty of their own, one that has known in China a spectacular evolution. They are performed on stationary bicycles (and they are then balancing acts performed by one or several acrobats) or on moving bicycles and unicycles. The most spectacular figure in a Chinese bicycle act is of course the &amp;quot;peacock&amp;quot; finale in which a large group of acrobats riding a single bicycle organize themselves in a tableau representing a peacock fanning its feathers. &lt;br /&gt;
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Tight wire or slack wire both evolved from traditional rope dancing, which appeared in China during the Han Dynasty (206 BCE-220 CE), more than 2000 years ago. Magic is also part of the Chinese Acrobatic Theater, in its more ancient and traditional form: In it, the magician wears a large robe from under which he or she produces a vast quantity of water bowls of all sizes with live fishes swimming in them, or braziers with burning fire; catching fishes in the air is also part of the repertoire of Chinese magicians, as well as amazing card manipulations. &lt;br /&gt;
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Hoop diving is another staple of Chinese acrobatics. It appeared also during the Han Dynasty, and was known originally as &amp;quot;Swallow Play&amp;quot; because the performers were supposed to imitate the movements of swallows as they jumped through narrow rings piled upon one another. The Chinese now call it &amp;quot;Dashing Through Narrows&amp;quot; (literal translation). Another staple of Chinese acrobatics (and acrobats all around the world) is of course acrobatic tumbling, known in China as ''Wushu''. Teeterboard is also an old Chinese specialty (which perhaps originated in Korea) with an international flavor.&lt;br /&gt;
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Meteor juggling, a uniquely Chinese specialty this time, consists in spinning a rope with two bowls filled with water attached at each end; the spinning ensemble is manipulated a little like the baton of a baton twirler, thrown up in the air while the juggler does acrobatic jumps before catching the meteor again&amp;amp;mdash;whether with his hands or on his feet, with which he or she kicks the meteor up again. Whatever the movements, the meteor never stops spinning, and the water is never spilled. &amp;quot;Pole Climbing,&amp;quot; known in the West as ''Chinese Poles'' is another old staple of traditional Chinese acrobatics: It was already described by writers some 1000 years ago.&lt;br /&gt;
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===Acrobatic Arts In The People’s Republic Of China===&lt;br /&gt;
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After the founding of the People's Republic of China in 1949, the Chinese government, following the policy they had defined as &amp;quot;Let a hundred flowers blossom and weed through the old to bring forth the new,&amp;quot; brought about a spectacular renaissance of the old acrobatic theater. Acrobatic troupes were created in each province and every major city, and were given their own theaters. The teaching was (and still is) done within the troupe, old performers training the new generation. &lt;br /&gt;
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This led to a spectacular revival of Chinese acrobatics, made more relevant by the fact that these troupes, unhindered by language or cultural barriers, could travel abroad and generate much needed foreign currency. The Chinese communist government was quick to realize this potential, and widely supported the development of acrobatic troupes, even creating troupes within the Army or the Chinese railways. In time, each troupe acquired its own specific style and repertory, and began to compete for supremacy in one genre or another. These efforts, overseen by a governmental central organization, were encouraged and rewarded. &lt;br /&gt;
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The remarkable results achieved since 1949 underwent a serious setback during the Chinese Cultural Revolution (1966-1976). But this was only to see the vitality of the Chinese acrobatic theater soaring to new heights afterwards:  As a reaction to ten years of Chinese elites’ dismissal, the government replaced the bureaucrats who were heading the troupes by senior leading acrobats, thus further encouraging their artistic development.  And when China eventually began to open up to the Western world in the 1980s, the cross-pollination between East and West reappeared in a spectacular way.&lt;br /&gt;
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In 1981, the People’s Republic of China sent [[Dai Wengxia]]’s extraordinary Glass Pagoda act, from the [[Guangzhou Acrobatic Troupe]], to the [[Festival Mondial du Cirque de Demain]] in Paris. It was the first time a Chinese act competed in an international circus festival, and Dai Wengxia won a Gold Medal&amp;amp;mdash;while another act from the Guangzhou troupe (a Bowl Pagoda duet) won a Silver Medal. And for their first appearance in a European circus festival, Chinese acrobats started an amazing winning streak that would not abate over the years.&lt;br /&gt;
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By then, Chinese acrobatic troupes had indeed resumed their international tours. Then, in 1984, the [[Nanjing Acrobatic Troupe]] shared the bill of [[The Knie Dynasty|Circus Knie]], in Switzerland, with the Knie family and such Western circus stars as [[Sabú Alegria]] and [[Kris Kremo]]. The following year, the [[Tianjin Acrobatic Troupe]] participated in the [[Cirque National Alexis Gruss|French National Circus]] production of ''Paris-Pékin'', along with the troupe of [[Alexis Gruss]], which formed the core of the Cirque National. In 1988, the Nanjing Acrobatic Troupe was fully integrated in the [[Big Apple Circus]] production of ''The Big Apple Circus Meets The Monkey King''.&lt;br /&gt;
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===The New Chinese Acrobatic Theater===&lt;br /&gt;
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Major circuses began to hire Chinese acrobatic acts for their shows, not because they gave them an exotic touch, as had been mostly the case before World War II, but because they were available and, more importantly, spectacular. The Canadian trendsetting juggernaut [[Cirque du Soleil]], notably, began hiring Chinese performers in 1994, for its show ''Alegria''. There, they were asked to change their style drastically, and to adapt to the specific demands of a very successful show. &lt;br /&gt;
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Such experience, more than any others, had a deep influence on the Chinese acrobatic theater. Acrobatic troupes began to realize that their traditional displays, with their quaint (to Westerners) costumes, attitudes, and music, were not anymore what big potential employers such as Cirque du Soleil and [[Ringling Bros. and Barnum &amp;amp; Bailey]] were looking for; they were interested instead in the Chinese acrobats’ amazing skills, and their ability to present impressive ensemble work, and wanted to use them in a creative way in their own productions. The exotic element was on the wane.&lt;br /&gt;
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Not only Chinese acrobatic troupes made themselves totally available to the needs of producers around the globe, but they began to develop a new style of their own, very much inspired by Cirque du Soleil’s. The [[Flag Circus of China]] (the Army troupe of Kunming, in the Yunnan province), and the [[Guangdong Troupe]] (the Army troupe of Guanzhou), the troupe of [[Dalian Acrobatic Troupe|Dalian]] (in the Liaoning province), and Beijing's [[China Troupe]] are among the many companies that present today lavish spectacles in the &amp;quot;new style,&amp;quot; perhaps reminiscent of the Cirque du Soleil’s imagery, but with a truly Chinese flavor&amp;amp;mdash;due mostly to the often mind-blowing skill level and acrobatic combinations displayed by their performers.&lt;br /&gt;
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After more than two millennia of practically unchanged tradition, the Chinese acrobatic theater, like China itself, has experienced a complete transformation at the dawn of the twenty-first century. It came with the realization that, in a global civilization, it is not their peculiarities, and thus their difference, which made the Chinese acrobats attractive, but their extraordinary talent at constantly surpassing themselves, which made them the best in their specialty within a global circus community.&lt;br /&gt;
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==Suggester Reading==&lt;br /&gt;
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Fu Qifeng and Li Xining, ''A Primer of Chinese Acrobatics'' (Beijing, Foreign Languages Press, 2003) &amp;amp;mdash; ISBN 7-119-03287-9&lt;br /&gt;
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==See Also==&lt;br /&gt;
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* History: [[Anhui Acrobatic Troupe]], [[Beijing Acrobatic Troupe]], [[Changchun Acrobatic Troupe]], [[China Acrobatic Troupe]], [[Flag Circus of China]], [[Dalian Acrobatic Troupe]], [[Flag Circus of China]], [[Guangdong Acrobatic Troupe]], [[Inner Mongolia Acrobatic Troupe]], [[Nanjing Acrobatic Troupe]], [[Shanghai Acrobatic Troupe]], [[Tianjin Acrobatic Troupe]], [[Xinjiang Acrobatic Troupe]], [[Zhengzhou Acrobatic Troupe]].&lt;br /&gt;
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==Image Gallery==&lt;br /&gt;
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&amp;lt;Gallery&amp;gt;&lt;br /&gt;
File:Cyrk_Chinese_Show_Poster.jpeg|Poster for a Chinese troupe in Poland (1964)&lt;br /&gt;
&amp;lt;/Gallery&amp;gt;&lt;br /&gt;
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[[Category:History|Chinese Acrobatic Theater, The]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=Cirque_Medrano_(Paris)&amp;diff=36478</id>
		<title>Cirque Medrano (Paris)</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=Cirque_Medrano_(Paris)&amp;diff=36478"/>
				<updated>2021-08-20T17:35:16Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: /* The Circus That Medrano Also Built */&lt;/p&gt;
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&lt;div&gt;''By Dominique Jando''&lt;br /&gt;
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Paris’s legendary Cirque Medrano holds a singular place in the Parisian cultural fabric and in circus history. From its beginnings as Cirque Fernando, in 1873, until the end of [[Jérôme Medrano]]’s management in 1962, it was tightly woven into the artistic life of the French capital, not only as a popular place of entertainment, but also for its long association with artists, writers, journalists, and Paris’s intelligentsia in general. It has been celebrated in paintings, novels, movies, and even popular songs. Its history is also closely intertwined with the life of its three historic directors: Louis Fernando, [[Geronimo Medrano]], and [[Jérôme Medrano]].&lt;br /&gt;
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Sometimes referred to as &amp;quot;The Temple of Clowns,&amp;quot; it has featured many of the world’s greatest clowns, from Geronimo Medrano to [[Buster Keaton]], and launched the extraordinary career of the [[Les Fratellini|Fratellinis]]. It had also sent into the limelight hitherto little known performers of immense talent, transforming them into genuine circus stars; appearing in its ring was a recognition for any circus artist. Its last performance under Jérôme Medrano’s reign in January 1963 was an event attended by the Tout-Paris of the arts, and its demolition in December 1973 caused a massive uproar that eventually led to a legislation protecting Paris’s historic theaters.&lt;br /&gt;
[[File:Medrano_Farandole.jpg|right|300px]]&lt;br /&gt;
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===Ferdinand Beert===&lt;br /&gt;
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This most Parisian of circuses was actually built by a Belgian circus entrepreneur. Ferdinand Constantin Beert (1835-1902) was born July 31, 1835 in Courtrai, Belgium, to Auguste Jean Beert, a butcher, and Delphine Beert, née Steinbrouk. As legend has it, at age eleven Ferdinand &amp;quot;ran away and joined the circus&amp;quot;&amp;amp;mdash;in this case the Cirque Paisse &amp;amp; [[The Gauthier Family|Gauthier]], which was touring in Belgium. There, as the story goes, Ferdinand trained with an acrobat and worked as a groom, learning the basics of horsemanship on the job. Yet, how Ferdinand’s career actually evolved after his auspicious flight from home remains conjectural, but he did actually work for Paisse &amp;amp; Gauthier.&lt;br /&gt;
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On April 17, 1857, Ferdinand Beert married in Bruges Maria-Tereza Deseck, a Belgian equestrienne who, like him, was not born in the circus: Her father was a bargeman. Ferdinand was twenty-two; Maria-Tereza already had a son, Louis-Charles, born in Bruges in 1851 (probably out of wedlock), whom Ferdinand adopted. Louis-Charles (the future Louis Fernando) was then six years old, just fifteen years younger than his new stepfather. The Beerts toured with the Cirque Gauthier in Belgium, Holland, Germany, and England. During this time, Louis was being trained as an equestrian&amp;amp;mdash;against his will, it must be said.&lt;br /&gt;
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[[File:Cirque_de_I%27impératrice.jpg|thumb|left|400px|The Cirque de l'Impératrice on the Champs-Élysées]]In 1861, Ferdinand Beert was hired by [[Louis Dejean]], the famous French circus entrepreneur, for his Parisian resident company. Beert performed for the first time in the French capital at Dejean’s Cirque Napoléon (today’s [[Cirque d’Hiver]]), and then, for the summer season, at his [[Cirque de l’Impératrice]] on the Champs-Elysées. For his first appearance with Dejean, Ferdinand presented an acrobatic duet on horseback with his partner, Armand, and performed a barrel-vaulting act. Ferdinand Beert, who was a very versatile all-around performer, remained with Dejean for ten consecutive years, appearing in a wide variety of acts, on horseback and on the ground, as well as in clown entrées and in pantomimes. &lt;br /&gt;
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In time, Louis Beert would perform the same equestrian repertoire as his father’s, but after a bad fall in 1865 in which he suffered a broken leg and a broken arm, Louis was forced to abandon bareback riding. The great Equestrian Master [[François Baucher]] (1796-1876), who was Dejean’s equestrian director, decided to take Louis under his wing and teach him the intricacies of true horsemanship&amp;amp;mdash;from classic haute-école to presentation of horses &amp;quot;at liberty.&amp;quot; Their sedentary years in Paris also gave Ferdinand and Maria-Tereza Beert the possibility to give Louis a solid academic education.&lt;br /&gt;
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While working for Dejean, Ferdinand acquired a stage name, ''Fernando'', and most importantly, a good knowledge of the Parisian audience. He had had also ample opportunity to observe at close range how Dejean managed his circuses. In the summer of 1871, Fernando appeared for the last time at the [[Cirque des Champs-Élysées]]&amp;amp;mdash;the Cirque de l’Impératrice’s new name after the fall of Napoléon III’s Second Empire in 1870. He would not return to the newly named Cirque National (formerly Cirque Napoléon) for the winter season: Contemplating the dawn of a new Republican era, Fernando Beert had decided to start his own circus!&lt;br /&gt;
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==LE CIRQUE FERNANDO (1875-1897)==&lt;br /&gt;
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Beert’s original ''Cirque Fernando'', a traveling circus, was launched at Vierzon, a small town in France’s Center region, in the spring of 1872. The company included ten horses and five artists: Fernando and his stepson, Louis (now twenty-one), the equestrian Philippe Bertoletti, the trapeze artist and equestrian Baptiste Gillardoni, and the English clown George Howard. It was a small company, but the number of horses and the presence of four equestrians reveal that horsemanship was the performance’s main fare&amp;amp;mdash;not surprisingly, since the age of equestrian circus was still in full bloom. &lt;br /&gt;
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Fernando’s roster of performers grew in number as his circus toured the French provinces with various degrees of success. As for Maria-Tereza, she had retired from performing and took care of the administration (i.e. box office and basic accounting); she was also quite busy bringing up the couple’s three children, Adolphe, Marthe, and Eugénie&amp;amp;mdash;of whom only Adolphe and Marthe would perform in the family’s circus&amp;amp;mdash;and she had perhaps lost the slender physical shape expected of a ballerina on horseback. She was now the respectable Mrs. Fernando.&lt;br /&gt;
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===La Fête de Montmartre===&lt;br /&gt;
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In August of 1873, Fernando set up his circus tent at the ''Fête de Montmartre'', a popular summer fair that was traditionally held on the hill of Montmartre, on the northern edge of Paris. The previous month, however, the French government had given the green light to the construction of the Sacré-Cœur basilica on the open space where the fair traditionally took place, at the top of the hill. Consequently, the fair was moved down to the median walkway of the Boulevard de Rochechouart, on the southern edge of Montmartre. It was large enough to accommodate the fair’s booths and carousels, and even a traveling menagerie, but not a circus tent. Luckily, Fernando found an empty lot at the corner of the Boulevard de Rochechouart and the Rue Lallier, and was able to lease it for the duration. &lt;br /&gt;
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[[File:Fernando-Medrano_Montmartre.jpg|thumb|430px|right|Site of the Cirque Fernando]]Montmartre and its immediate vicinity formed a animated and colorful working-class neighborhood, already renowned for its many places of amusement: La Boule Noire, one of its better known dancing halls, was located just across the boulevard from Fernando’s lot; there were also the Bal Tabarin and La Reine Blanche, to mention just two of the most famous &amp;quot;bals&amp;quot; (dancing halls) that attracted revelers to the Boulevard de Rochechouart. The Moulin de la Galette, a &amp;quot;guinguette&amp;quot; (a tavern with dancing), was another popular rendezvous located on the hill itself; and soon, the Bal du Moulin Rouge would be added to the list (on the Boulevard de Clichy, the western continuation of the Boulevard de Rochechouart). &lt;br /&gt;
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Montmartre’s large bohemian population included many painters&amp;amp;mdash;among whom Auguste Renoir, Edgar Degas, Georges Seurat, and Henri de Toulouse-Lautrec. They quickly became regulars of the Cirque Fernando, where Mrs. Fernando gave them free access to rehearsals to sketch the performers at work and, sometimes, to see the show. In turn, they brought in their wake a host of young trendsetting writers, journalists and other Parisian literati to the circus; these well-connected visitors would generate a considerable publicity for the Fernandos. &lt;br /&gt;
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When it was originally set up in Montmartre, Fernando’s circus was a small canvas tent supported by a single pole, which offered rather spartan seating accommodations; with its worn wooden wagons surrounding the tent, and most of its artists living onsite, the whole affair looked like a gypsy encampment. Yet, Fernando’s show was commendable and had charm, and it was generally well received by the critics who made the trip to the Boulevard de Rochechouart. &lt;br /&gt;
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More importantly, Fernando discovered that there was a large indigenous population ready to return to a local circus when its programs were renewed&amp;amp;mdash;to which could be added the many visitors who came to have a good time in this lively neighborhood. Thus, when the fair came to an end, Fernando extended his lease and replaced his tent by a ''semi-construction'' with a canvas top over a wooden structure, and a boarded wall to keep it warm during the coming winter months. The French novelist Jules Claretie (1840-1913) gave a good description of the Cirque Fernando at that time in his novel ''Le Train 17'' (1877), in which his not-so-imaginary circus was named ''Cirque Francis Elton.''&lt;br /&gt;
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By then, Fernando’s company of performers had expanded; in the spring of 1874, it included&amp;amp;mdash;beside the Fernandos, Bertoletti and Gillardoni&amp;amp;mdash;Ferdinand and Victor [[Cirque Bouthors|Bouthors]]; the equestriennes Clotilde Bertoletti, Mlle Marthe (Fernando) and Mlle Juliette; and most significantly, the clowns Geronimo Medrano (1849-1912) and his partner, Pasquale. Unbeknownst to him, Medrano was on his way to stardom in a building that would one day bear his name&amp;amp;mdash;for Mrs. Fernando, who saw the money flowing in at the box office, had decided it was time to build a permanent circus in Montmartre.&lt;br /&gt;
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===The Circus That Fernando Built===&lt;br /&gt;
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At the beginning of 1874, the Fernandos had met with a Mr. Loiseau, owner of the ground where they were installed, and since Loiseau had no immediate prospect for his piece of land, they secured a thirty-year lease on a parcel located a few yards west of their ''construction'', at the corner of the Rue des Martyrs. Unlike the Rue Lallier, the Rue des Martyrs intersected the Boulevard de Rochechouart at a right angle, which made the design of a building easier. Furthermore, they could keep their existing circus structure active on its old spot during the construction work.&lt;br /&gt;
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[[File:Medrano_Cross_Section.jpeg|thumb|left|450px|Gridaine's blueprint (1874)]]The Fernandos asked a local architect, Gustave-André Gridaine (1835-?), to design the new circus after the [[Cirque des Champs-Elysées]]. (The larger [[Cirque d’Hiver]], with its remarkable self-standing cupola, was much too expensive a model to be seriously considered.) From then on, everything moved at a fast pace. On May 1, Fernando sent Gridaine’s completed blueprints to the ''Préfecture de Police'' to obtain the necessary &amp;quot;permis de bâtir&amp;quot; (permit to build). &lt;br /&gt;
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Some circus historians have mentioned that no building permit has ever surfaced, thus inferring that the construction of the Cirque Fernando had been somewhat illegal. However, this is a misconception: There were no building permits per se at the time, and the documents presented to the Prefecture de Police constituted in themselves the &amp;quot;permis de bâtir&amp;quot;&amp;amp;mdash;unless the Préfecture de Police opposed the construction of a building on the planned location for a reason or another, but not related to any technical or architectural aspect of the construction. It was just a routine procedure. Since nothing prevented the construction of a circus on Fernando's chosen location, the work began on August 15, 1874.&lt;br /&gt;
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To finance part of the operation, the Fernandos made an unusual deal with their building contractor, a Mr. Oudin. Oudin agreed to be paid in installments, and as a guarantee, the Fernandos transferred to him all their circus equipment, and even their lease. In turn, Oudin used Fernando’s properties and lease as collateral to obtain a credit of 100,000 francs from the Banque Boulley et Cie. In time, this financial arrangement would generate serious problems, and it would have unintended consequences that eventually resulted in Jérôme Medrano losing his circus to the [[The Bouglione Family|Bouglione]] family nearly a century later.&lt;br /&gt;
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By the end of November, the circus's main infrastructure was completed; the new Cirque Fernando opened its doors seven months later, on June 25, 1875. Its address was at 63 Boulevard de Rochechouart, and it had cost over 500,000 Francs&amp;amp;mdash;approximately €5,775,000 today. In spite of a limited space (the usable surface was about 40 x 40 meters) and a relatively small budget, Gridaine had done a very fine job. The style was &amp;quot;classic-Haussmann,&amp;quot; with a pleasant façade&amp;amp;mdash;albeit missing the equestrian statue that was meant to top it and was never made&amp;amp;mdash;ornamented with Corinthian columns framing three arched doors that led to a small reception hall, where the box office was located. Above the doors were the three French windows of the foyer standing above the reception hall, ornamented with elegantly designed wrought-iron balustrades.&lt;br /&gt;
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The house itself was a sixteen-sided polygon with an inside diameter of 34.10 meters (35 meters outside). The ring had the traditional diameter of 13 meters. The roof, whose metallic frame remained fully visible, was divided in two concentric circles; the inner circle was an elevated cupola, 22.5 meters in diameter, supported by sixteen cast-iron columns. Its height, up to the base of the lantern, was about 20 meters. The peripheral wall of the central cupola had windows, and so had the lantern, so that sunlight could be used during rehearsals and matinees&amp;amp;mdash;but there were also sixteen large gas chandeliers hanging between the columns at the circumference of the cupola to lit evening performances. &lt;br /&gt;
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[[File:Medrano_floor_plan.jpg|thumb|450px|right||Gridaine's blueprint (1874)]]The house was said (on paper) to accommodate 2,080 spectators, packed on thirteen rows of seats divided in three categories, with a partition between the second and third categories, and a ''promenoir'' (standing room gallery). The First and Second Places had padded benches with back support; the Third Places had simple benches with a &amp;quot;butt stop.&amp;quot; The seating accommodations might seem a little Spartan by today’s standards, but as a whole, the Cirque Fernando was more comfortable than Dejean’s much larger Cirque d’Hiver (which had by then passed under the management of [[Victor Franconi]]). The narrow peripheral ''promenoir'' ran just behind the Third Places. The bandstand was placed above the artists’ entrance, and, facing it, was a large ''loge'' (box) with four rows of seats, at the back of which was the little open foyer that stood above the reception hall. &lt;br /&gt;
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Unlike the Cirque des Champs-Elysées and the Cirque d’Hiver, the various categories of seats were connected together, which generated a convivial environment. The steep gradient between the rows not only offered the audience an excellent visibility (notwithstanding the columns in front of the Second Places), but also very good acoustics&amp;amp;mdash;a definite plus for the clowns. The house was nicely decorated with garlands of flowers painted on the periphery of the cupola, and gold accents adorning architectural details. The columns were painted in faux marble, and the walls and ceiling in a shade of peach-pink. The house irradiated a feeling of warmth and elegance&amp;amp;mdash;and intimacy, which was not its lesser charm.&lt;br /&gt;
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If the house was, of course, circular, the entire building was contained within a square. On the forefront, flanking the façade on each side, were two spaces designed to accommodate a coffee house and offices; starting in 1885, they were leased to the photographic studio Chamberlin, whose name would remain associated with the circus building until the late 1950s. In the back, behind the house, was a small two-story structure; on the street side, next to the stage door (at 72ter Rue des Martyrs), stood the concierge’s lodge and an all-purpose space that could house horses and animals. Fernando’s large apartment was located above, on the first floor. &lt;br /&gt;
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On the opposite side, stables (with room for 16 horses) occupied the ground floor, and the second floor accommodated a suite of rather cramped dressing rooms for the artists. (Two additional dressing rooms were located below ground level, under the seats, on each side of the ring entrance&amp;amp;mdash;one of them traditionally used by the clowns). This side of the building had no door opening outside, since the small Rue Viollet-le-Duc, which would later flank the east side of the circus, didn’t exist yet (it was opened in 1880). &lt;br /&gt;
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The backstage area, between the two aisles, was relatively narrow; it served nonetheless as a secondary foyer with a small ''buvette'' (refreshment stand), which, when the main foyer at the front of the house was later suppressed under Jérôme Medrano’s tenure, was replaced by a bona-fide bar where artists and spectators mingled during intermission&amp;amp;mdash;a beloved feature that added to the charm and uniquely convivial atmosphere of this circus.&lt;br /&gt;
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===The Circus That Medrano Also Built===&lt;br /&gt;
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The Cirque Fernando had already begun to develop its Parisian reputation during its canvas days, but now that it was performing in a permanent building, with the added comfort this implied, it quickly became a true destination. Mrs. Fernando continued her policy of giving the neighboring artists free access to rehearsals, and they continued to bring along their friends: Journalists and writers liked the new circus’s warm atmosphere, and Fernando Beert was able to deliver the quality they expected of its shows. They made it known.&lt;br /&gt;
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[[File:Medrano_-_Maurice_Blum.jpg|thumb|300px|left|Geronimo Medrano in Fernando's semi-construction by Maurice Blum (1875)]]The program, which was renewed partially every week, was rich and varied: The opening performance even included [[James C. Edmonds]]’s elephants, a spectacular type of act that was not frequent then. A few members of the vast and celebrated [[The Chiarini Family|Chiarini]] family, the dog and monkey trainer [[Jules Bugny]], the American equestrienne Jenny Visser, and the clowns Vallier &amp;amp; William were part of the original fare, along with the dependable Gillardoni and Bertoletti, and the Vicomte de Corbie presided over a liberty act. Yet it soon became evident that Fernando’s trump card was his &amp;quot;premier clown,&amp;quot; Geronimo Medrano, better known as ''Boum-Boum''. He was by far the popular audience’s favorite, and was on his way to turn into Fernando’s star performer. &lt;br /&gt;
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Born in Madrid in 1849 to a Spanish mother and a Mexican father, Geronimo trained in gymnastics as an adolescent and, at age twenty, built a flying trapeze act with a partner, Leopold Salonne. Created in 1859 at Paris’s Cirque d’Hiver by [[Jules Léotard]] (1838-1870), the flying trapeze had quickly become an act à la mode&amp;amp;mdash;albeit not an easy one to tackle&amp;amp;mdash;due to Léotard’s astonishing success. It was originally performed from trapeze to trapeze, but Medrano and Salonne were among the very first flying trapeze artists to include passes from a trapeze to a suspended catcher. Yet what truly set Medrano and Salonne apart is that theirs was a comedy act.&lt;br /&gt;
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They had already performed all over Europe when they landed in Paris in June 1872, at the Cirque des Champs-Elysées, where they achieved a notable success. Although Fernando had already left Dejean’s company, he may have met Geronimo Medrano then and there. In any event, in 1873, Medrano and Salonne parted company, and Fernando Beert, who had now a circus of his own, offered Medrano to work for him as a clown; Geronimo was blessed with a warm and sunny personality and was immediately successful. He was also good at training small animals, and his favorite partner in the ring was a pig&amp;amp;mdash;a foil of choice to many a clown (as [[Billy Hayden]], [[Tony Grice]] and, later, [[Anatoly Durov]] bear witness).&lt;br /&gt;
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Quite often, clowns use in the ring a catchphrase that eventually becomes their trademark; Medrano used to give the bandleader the signal to play his exit music by shouting to him a resounding &amp;quot;boum boum!&amp;quot; (&amp;quot;boom boom!&amp;quot;) . Geronimo’s recurring exclamation stuck, and very soon his audiences nicknamed him ''Boum-Boum''. Although he was not specifically featured in Fernando’s advertising, a large part of the popular audience went to the Cirque Fernando to see Boum-Boum. He didn’t need to be announced: The audience knew he would be there. He was, so to speak, part of the furniture&amp;amp;mdash;and he contributed to a large extent to the Fernando's success.&lt;br /&gt;
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===Enter Louis Fernando===&lt;br /&gt;
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During its first summer recess in August 1875, the Cirque Fernando housed a series of concerts of &amp;quot;modern music.&amp;quot; When it reopened in September, Fernando Beert’s stepson, Louis Fernando, was in charge of the programs&amp;amp;mdash;becoming in effect the circus’s Artistic Director. Why Fernando delegated this crucial responsibility to Louis? The Beerts were heavily in debt, and to add an extra income, Fernando had decided to resume the tours of his traveling circus, while he progressively left Louis in charge of the building.&lt;br /&gt;
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[[File:Fernando_-_Lautrec.jpeg|thumb|right|400px|Louis Fernando by Henri de Toulouse-Lautrec (1887)]]Moreover, if Fernando knew how to run a traveling circus, the running of a Parisian circus was another matter altogether: It required to be constantly aware of the performers’ market, endlessly deal with artists or agents, be attuned to the trends of the moment, and most importantly, be very creative. Louis Fernando, who was a snob of sorts eager to be part of Parisian society, had a much better education than his stepfather and kept au courant with the fads of Paris life, and he had indeed a more genial personality. All in all, Louis was better suited than his stepfather to run a Parisian place of entertainment. In fact, Fernando Beert had rarely been in the limelight as a director: His wife and his stepson had always been the circus’s front persons. &lt;br /&gt;
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Louis proved to be a good artistic director; he knew how to compose attractive programs, was open to novelties, and understood well that he had to boost his best property, &amp;quot;Boum-Boum&amp;quot; Medrano. However, on the administrative side, the Beerts’ lack of financial acumen was their Achilles’ heel. In 1876, to satisfy the demands of their creditors, they tried to create a corporation, but the constitution of their capital, as it was, was judged illegal, and the corporation was dissolved. At this point, their financial and legal situation had become so complicated that it had created a vacuum in which Louis Fernando had ample room to move as he saw fit. The flip side was that the Beerts had nothing left to their name: All their properties, including their building and their land lease, were held as a security by their bank.&lt;br /&gt;
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In June 1876, Louis Fernando married into well-to-do Parisian bourgeoisie: The father of Jeanne Gabrielle Houssaye (1858-1894), his young wife, was a well-known tea merchant who had created the first Parisian tearoom on the Champs-Elysées during the ''Exposition Universelle'' (World Fair) of 1867. Louis and Jeanne Fernando took up residence at the Rue du Dôme, near the Place de l’Étoile in Paris, in a fashionable neighborhood. (Together, Jeanne and Louis Fernando had a son, Gabriel Eugène Henry Beert (1875-1902), apparentlly before their marriage, who died at the age of twenty-seven, and of whom nothing is known.) Over the years, Louis’s lifestyle, fueled by his social ambitions, will hurt his and his circus’s already shaky financial situation.&lt;br /&gt;
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[[File:Miss_Lala.jpg|thumb|300px|left|Lala Kaira at the Cirque Fernando painted by Edgar Degas (1879)]]Nonetheless, Louis Fernando was a capable Artistic Director. He was aware that his circus was not equipped to compete efficiently in the equestrian department with the Cirque d’Hiver and the Cirque des Champs-Elysées, or to stage the spectacular pantomimes the Cirque d’Hiver, and soon, the huge [[Hippodrome de l’Alma]] (open in 1877) produced. The Cirque Fernando was, however, better tailored than its competition for intimate comedy, and it had a popular leading clown to boot. In January 1876, Louis produced ''Le Barbier Frétillant'' (&amp;quot;The Wriggling Barber&amp;quot;), a comic pantomime with Boum-Boum in the title role. It was the first of a long series of similar pieces that featured Geronimo Medrano and made him a true circus star. &lt;br /&gt;
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Novelty acts, not star equestrians, were what set the Cirque Fernando apart&amp;amp;mdash;from an all-female equestrian show, to the riding seal of Raziscoff, or the lions of Captain Cardona. In December 1878, the sensation of the show was the Mulatto aerialist [[Miss Lala]] (Olga Albertina Brown, 1858-?), &amp;quot;la Sirène des Tropiques&amp;quot; (&amp;quot;The Tropics’ Mermaid&amp;quot;), who had a considerable Parisian success and was immortalized by Edgar Degas. (This show also featured the Fratellinis, in the person of [[Gustave Fratellini]]&amp;amp;mdash;the father of the legendary [[Les Fratellini|François, Paul and Albert]]&amp;amp;mdash;and his partner Gustave Romoli.) Miss Lala and the [[Kaira Troupe]] (in which she belonged) went on tour with the tenting Cirque Fernando during the summer and remained under contract with Fernando until the end of 1879. &lt;br /&gt;
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When the Cirque Fernando went on its annual provincial tour under canvas in the summer of 1879, Medrano went to work at the Hippodrome de l’Alma, while the Fernando building was rented out and transformed into a ''café concert''&amp;amp;mdash;a variety show featuring mostly singers, and where drinks were served. The circus would often be similarly rented out in the summer for extra-curricular activities, and during the season, on dark days, for public meetings or political reunions: The most publicized of them were meetings held by Georges Clémenceau, then the Député (M.P., or Representative) of Montmartre. (A major French columnist and politician, Clémenceau would become France’s Prime Minister in 1917, during WWI, and helped build victory over Germany.)&lt;br /&gt;
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Geronimo Medrano was still Fernando’s top attraction, and the central character of its joyous pantomimes. At the opening of the 1882 season, he was additionally promoted to the important function of ''Régisseur Général''&amp;amp;mdash;a mixture of company manager and performance director specific to the circus: He was in charge of the performers, the crew, the rehearsals, and the performances. In his spare time, he also trained young equestriennes, such as the Cardinale Sisters, who performed at the circus as bareback riders in 1885. &lt;br /&gt;
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As for Jeanne Fernando, Louis’s wife, she had made her debut in 1881 as an haute-école rider at the fashionable [[Cirque Molier|Cirque d’Amateurs]] that Ernest Molier presented annually in his Parisian townhouse on the rue de Bénouville, the courtyard of which had been converted into a small private circus. She had been trained in horsemanship by her husband, according to Baucher's method, and had become a remarkable equestrienne. &amp;quot;Madame Louis Fernando&amp;quot; was subsequently an intermittent equestrian feature of her husband’s circus: She was not in good health, which often took her away from the ring for long periods of time.&lt;br /&gt;
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===Competition===&lt;br /&gt;
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[[File:Nouveau_Cirque_Façade_(1904).jpeg|thumb|300px|right|The Nouveau Cirque's Façade on the Rue Saint-Honoré (1904)]]On February 12, 1886, Joseph Oller’s brand-new [[Nouveau Cirque (Paris)|Nouveau Cirque]] opened its doors on Rue Saint-Honoré, in the prosperous center of Paris, at a stone-throw of the Place Vendôme. It was a revolutionary circus: Its ring could sink to reveal a water basin&amp;amp;mdash;the very first circus equipped with such a device. It had also a palatial and comfortable house (with individual theater seating) which had been designed by Fernando’s architect, Gustave Gridaine. However, the façade and the elaborate reception hall were the work of Charles Garnier (1825-1898), the celebrated architect of Paris’s extravagant Opéra, which gave the place an additional cachet.&lt;br /&gt;
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Beside its plush elegance and its chic surroundings, which would quickly make it the High Society’s circus of choice, the Nouveau Cirque had put together a brilliant company of artists, among which was a group of very talented clowns: [[George Foottit]], [[Pierantoni and Saltamontès|Alexandre Pierantoni]], and [[Tony Grice]] with his young apprentice, the Black auguste [[Chocolat]]. The Nouveau Cirque also made good use of its water basin with comic pantomimes that inevitably ended with a big splash in the pool! Novelties and comedy had been so far what had distinguished the Cirque Fernando from Franconi’s more horse-oriented [[Cirque d’Hiver]]; now, Fernando had serious competition in its own particular domain from a better-located, and somehow more attractive circus. &lt;br /&gt;
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Louis Fernando’s business remained good nonetheless, as he stuck to the recipes that had made his success. Although George Foottit, already a star clown, loomed bigger than Medrano in the public eye, Boum-Boum was still attracting a faithful audience to the Boulevard de Rochechouart. Then, at the end of the summer of 1887, the touring Cirque Fernando ceased its activity (Fernando Beert probably retired soon after that). In 1888, the circus on the Boulevard de Rochechouart remained open during the summer three days a week; the rest of the time, Louis Fernando gave riding and vaulting lessons in the ring. Times were changing&amp;amp;mdash;and not for the better…&lt;br /&gt;
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In January 1889, the Cirque Fernando offered ''En Selle pour la Revue'', a humorous revue of the previous year’s events&amp;amp;mdash;the original meaning of a revue, a fashionable theatrical form then&amp;amp;mdash;written for &amp;quot;Boum-Boum&amp;quot; Medrano at his request by two well-known librettists, Surtac and Alévy (Gabriel Astruc, 1864-1938, and Armand Lévy, 1859-1935). Boum-Boum was the revue’s traditional ''compère'' (a mixture of Master of Ceremonies and stand-up comedian), and Louis Fernando, playing himself, was his straight man. It was a huge success that remained on the bill for three months, in spite of the controversial presence in the cast of La Goulue (Louise Weber, 1866-1929), the infamous Cancan dancer immortalized by Toulouse-Lautrec. &lt;br /&gt;
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Yet, on the Boulevard de Rochechouart, all was not in the pink at the &amp;quot;pink circus&amp;quot; (as the circus chronicler [[Serge]] would later dub it, referring to its warm color scheme, of which he was particularly fond). Louis Fernando’s financial situation was becoming increasingly unmanageable. As much as he was attached to the circus that had made him famous, Medrano was, from his position as ''Régisseur Général'', well aware of Fernando’s troubles, and he couldn’t see a bright future for himself in his company; in May, at the end of the season, Geronimo Medrano left the Cirque Fernando. In August, Boum-Boum debuted at the Nouveau Cirque, rue Saint-Honoré.&lt;br /&gt;
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===Fernando’s Decline===&lt;br /&gt;
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With Medrano’s defection, Fernando had indeed lost one of its main drawing cards. Although Boum-Boum Medrano did well as a clown at the Nouveau Cirque, he was outshined by George Foottit, who began to team up regularly with the Black auguste Chocolat; together, [[Foottit &amp;amp; Chocolat]] will become the Toasts of Paris, and remain so for a full decade. But Medrano had made a good move: In 1892, [[Raoul Donval]], the Nouveau Cirque’s new director, who appreciated Geronimo’s many talents, gave him the position of ''Régisseur Général''&amp;amp;mdash;the same position he had held for Louis Fernando, but this time in a much healthier financial environment.&lt;br /&gt;
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As for Louis Fernando, he had a huge success the same year with his politico-military pantomime, ''Les Marins de Cronstadt'', but he flopped soon after with a comic pantomime, ''Robert Macaire'', which he kept nonetheless on the bill for two months&amp;amp;mdash;which suggests that he had nothing else to offer. Nonetheless, Fernando’s programs remained by and large attractive, with their usual mix of novelty acts and comic pantomimes, which still competed effectively with the traditional equestrian fare of the Franconis’ Parisian circuses. &lt;br /&gt;
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[[File:Jeanne_Fernando.jpg|thumb|300px|left|Jeanne Fernando, equestrienne (c.1890)]]As it happened, the traditional equestrian circus, of which the Franconis were the indefectible champions, was slowly going out of favor: The mighty Hippodrome de l’Alma, home of large equestrian spectaculars, had to close its doors at the end of 1892, and was demolished in 1894. That year, the Baron Pierre de Coubertin had formed the International Olympic Committee, and the Automobile Club de France was created the following year: Sports and gymnastics (i.e. acrobatics) were in full bloom, and the automobile was replacing the horse. In this context, Louis Fernando’s circus formula was well attuned to the times; yet, he still had to contend with the Nouveau Cirque and to deal with a chaotic financial situation that was rapidly catching up with him.&lt;br /&gt;
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To make matters worse, Jeanne Fernando died on May 22, 1894 from a &amp;quot;terrible disease,&amp;quot; which may have been tuberculosis&amp;amp;mdash;for which there was no cure at the time, and the frightening name of which, like cancer, was always hushed up. Jeanne was only thirty-six, and Louis Fernando was devastated. He closed his circus and rented the building out for a season of operettas; the circus took the name of ''Théâtre Parisien''. It finally reopened as a bona-fide circus in December with the Troupe Rancy-Loyal in a show originally produced by [[The Rancy Dynasty|Alphonse Rancy]] in his resident circus at Lyon. Louis Fernando was nowhere to be seen.&lt;br /&gt;
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The Rancy-Loyal Troupe occupied the Cirque Fernando, renewing its shows regularly, until the spring of 1895. Then the circus was again rented out for a summer season of variety, and took the name of ''Concert d’Été''. Finally, at the end of the summer, it was completely refurbished, equipped with theater seating and a coco mat in the ring as in the Nouveau Cirque, and reopened at last in September 1895 under Louis Fernando’s management. In spite of commendable programs that were renewed each Wednesday, Louis Fernando had a hard time trying to bring back his public; he even had to lower his price of admission.&lt;br /&gt;
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By then, the ''Banque Boulley et Cie'', his bank, had long realized the security they had inherited from the Fernandos’ original dealings. On October 25, 1897, the new owner of Fernando’s circus building, who obviously had not been paid by his tenant, announced that the entire property, land and walls, would be auctioned off: His tenant, Louis Fernando, had staged a moonlight flit. The press mentioned the upcoming sale in early November. What exactly happened after that point is unknown; the sale, if any, was not publicly reported. In any event, the circus was closed and left with a sign on its door: &amp;quot;For Rent.&amp;quot;&lt;br /&gt;
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It was much later discovered that Louis Fernando had remarried on October 2, 1897 in Courbevoie, a Paris suburb, a short time before the announcement of his circus’s sale. We don’t know what became of him afterward; he disappeared from the public eye&amp;amp;mdash;and from the circus scene. He died probably in the early years of the twentieth century; the Fernando-Bert tomb at the ''Cimetière de Montmartre'' mentions only his wife, Jeanne, and their son, Gabriel. His mother and stepfather had long retired to Bruges, Belgium, where Fernando Beert passed away on December 30, 1902. Thus, by November 1897, the saga of the fabled Cirque Fernando had finally come to an end. Or had it?&lt;br /&gt;
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==LE CIRQUE MEDRANO (1897-1962)==&lt;br /&gt;
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Geronimo Medrano, like everyone else in the circus world, had followed the disturbing disintegration of the Cirque Fernando&amp;amp;mdash;but to him, the announcement of its demise hit closer to home. He had spent fifteen years with Fernando, saw the circus building come up, and he became famous in its ring; aside from Louis Fernando, no one had had more to do with its success than Medrano. For seven years, as its ''Régisseur Général'', he had also managed its daily operations. He knew this circus inside out. Geronimo Medrano had just managed Raoul Donval’s short-lived [[Hippodrome du Champs de Mars]] (1894-1897), on the Avenue Rapp; he was approaching his fifties, and he thought it was perhaps time to move ahead… &lt;br /&gt;
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===&amp;quot;Boum-Boum&amp;quot; Medrano, Circus Director===&lt;br /&gt;
All of a sudden, in December 1897, it was announced that Geronimo Medrano was the new tenant of the circus on the Boulevard de Rochechouart, which he had renamed ''Cirque Medrano''. Medrano, well aware that time was of the essence if he wanted to take hold of the vacant Cirque Fernando, had moved swiftly. In order to secure a long-term lease (the annual rental price was 40,000 Francs, about €128,000 today), he had enrolled his old friend [[Emilio Maîtrejean]], a retired acrobat and daredevil (and the son of the former ''Régisseur'' of the [[Cirque Napoléon]]), who had put his savings at Geronimo’s disposal.&lt;br /&gt;
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[[File:Director_Geronimo_Medrano.jpeg|thumb|right|300px|Geronimo Medrano (c.1900)]]Financially the operation could have been risky, as the Fernandos’ misadventures had shown all too well, especially since Medrano didn’t have time to secure any other backing source. However, two factors had swayed his decision: Firstly, the Cirque des Champs-Elysées was moribund and the Cirque d’Hiver was declining, which limited serious competition to the Nouveau-Cirque; more consequential, Chamberlin, the photo studio that occupied the spaces framing the circus’s façade, was the tenant of the circus itself, not of the property’s owner, and Medrano would therefore collect Chamberlin’s rent&amp;amp;mdash;the amount of which was about 40,000 Francs a year.… Geronimo signed a deal with the proprietor without much vacillation and moved his quarters into the circus building’s apartment!&lt;br /&gt;
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The press had been glad to spread the good news, enthusiastically wishing success to the new director. Unlike Louis Fernando, whom they had often derided as a snob and a social climber, the happy, genial, outgoing &amp;quot;Boum-Boum&amp;quot; Medrano had an excellent reputation among Parisian journalists and critics, and of course among the old Cirque Fernando’s aficionados. The fact that the defunct Cirque Fernando was now Medrano’s circus seemed to everybody a logical conclusion. And as everybody knew, a circus that bore the name of Medrano could only be a joyous circus.&lt;br /&gt;
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Thus the Cirque Medrano opened its doors on December 22, 1897 to an enthusiastic audience&amp;amp;mdash;neighborhood habitués and the usual crowd of Parisian cognoscenti, journalists, and artists of all species. The General Manager was Emilio Maîtrejean, and the company for the season included the [[Les Fratellini|Fratellinis]]&amp;amp;mdash;that is to say, the remarkable somersaulter on horseback François Fratellini, his brothers, the clowns Luigi and Paolo (Louis and Paul), and ''The Gentlemen'', the eccentric acrobatic and musical act performed by Albert and François. Not yet the fabled clown trio (which would form after Louis’s death in 1909), the Fratellini brothers had nonetheless sowed the seeds of a long association with the Cirque Medrano. &lt;br /&gt;
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There were other clowns in the program, notably Alexandre Pierantoni, formerly of the Nouveau Cirque, &amp;quot;and his auguste&amp;quot;, and comic pantomimes would often be part of the fare&amp;amp;mdash;the first of which was titled ''Le barbier fin-de-siècle'' (&amp;quot;The End-of-Century Barber&amp;quot;). Geronimo Medrano, however, was not performing as a clown anymore: He was now a Circus Director, and would only appear sporadically holding the ''chambrière'' (the Equestrian Master’s long whip), but the show bore his distinctive, joyful stamp. Like its predecessor, the Cirque Medrano gave priority to novelty acts and comedy, and it changed its program partially every week, with performances every night, and matinees on Thursdays, Saturdays, and Holidays. &lt;br /&gt;
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Geronimo Medrano maintained the old open-door policy that Mrs. Fernando had originated for the neighboring artists. The establishment of the legendary ''Bateau-Lavoir'' as an artists’ communal house in Montmartre at the turn of the century would bring another generation of upcoming artists and painters to the Cirque Medrano: Pablo Picasso, Juan Gris, Georges Braque, Henri Matisse, Kees van Dongen, Jean Cocteau, Guillaume Apollinaire, to name but a few. Like their predecessors, they helped keep in the limelight the already fabled &amp;quot;cirque montmartrois&amp;quot; (circus of Montmartre).&lt;br /&gt;
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[[File:Cirque_Medrano_1898.jpg|thumb|450px|left|Cirque Medrano (c.1898)]]Unlike the ambitious and carefree Fernando, Medrano was fiscally conservative. He also knew how to attract good acts at a reasonable price: He was well known and had a good reputation in the business, and his cheerful personality was hard to resist. The circus had shown a positive balance sheet at the end of 1898. In 1899, its gross income had increased by 123,534 Francs. After Fernando’s never-ending financial quandaries, Medrano’s landlord was finally able to put his mind at rest. Meanwhile, that same year, [[Charles Franconi]] closed the venerable Cirque des Champs-Elysées, which had once been Paris’s most fashionable circus.&lt;br /&gt;
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A new [[Hippodrome de la Place Clichy|Hippodrome]] opened its doors in May 1900 on the Place de Clichy, not very far from Medrano. It was supposed to take advantage of Paris’s ''Exposition Universelle'' (World Fair) of 1900, but the Fair didn’t prove a boon for Parisian circuses. A huge arena designed for equestrian spectaculars, the Hippodrome was perhaps too big to be profitable: it would eventually close in 1907. (It was transformed into Europe’s largest movie house, the ''Gaumont Palace''&amp;amp;mdash;the Parisian equivalent of New York’s Radio City Music-Hall.) In 1906, another circus was built on Paris’s Left Bank, Avenue de la Motte-Piquet, the cavernous [[Cirque Métropole]], which would also suffer from its sheer size, but would remain active with various ups and downs until 1930. And there were still, of course, the Cirque d’Hiver and the Nouveau Cirque.&lt;br /&gt;
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Paris had become, and would remain until the 1950s, Europe’s circus capital. In spite of heavy competition, the Cirque Medrano held its own without a flinch, and whereas all its competition would have dark interludes and turn into movie houses or theatres at times, Medrano never ceased being a circus. It had qualities that its rivals couldn’t truly match: Its warmth and intimacy, a lack of pretension that reflected well the personality of its beloved founder, a great variety of offerings, clowns who were allowed to shine in an environment that perfectly suited them, and perhaps for all these reasons, it had fierce supporters. Soon, the circus on the Boulevard de Rochechouart became known simply as &amp;quot;Medrano&amp;quot;: Parisians used to &amp;quot;go to Medrano&amp;quot;&amp;amp;mdash;a household name that had grown to be synonymous with Circus and didn’t need qualifiers.&lt;br /&gt;
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===Change Of Guard===&lt;br /&gt;
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In 1892, while he was still working at the Nouveau Cirque, Geronimo Medrano had married Charlotte Blanche Lippold. They formed a strong couple, even though Blanche was barren and didn’t give Geronimo an heir. On August 18, 1905, after thirteen years of marriage, Blanche Medrano passed away, rather untimely; Geronimo was devastated. He was fifty-six years old (at a time when the average life expectancy for men was around fifty years), he had no successors, and he felt his life had suddenly become pointless. Yet he had a solid support system in his close friends at the circus: The faithful Emilio Maîtrejean, Thomas Hassan, his ''Régisseur'', and &amp;quot;Mr. Emile,&amp;quot; his comptroller (whose last name nobody seems to have remembered). They helped him go through a very difficult period.&lt;br /&gt;
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[[File:Rico_y_Alex.jpeg|thumb|right|300px|Rico &amp;amp; Alex (c.1910)]]His circumstances brightened up in early 1906, when Geronimo found a warm-hearted confidante in Berthe Perrin (1876-1920), a thirty years old seamstress who was twenty-five years his junior. Their friendship eventually developed into an affair and, on May 18, 1907, Berthe gave birth to a son, [[Jérôme Medrano|Jérôme]] (1907-1998). The Medrano line was finally revived, and Geronimo was elated. He married Berthe on June 13, and then legitimized his son. By all accounts, Berthe was a sweet, caring person, but her humble origins and hard life had made her a strong woman who knew how to take care of business. Although she was not a circus person, Berthe Medrano proved to be a good partner to Geronimo. &lt;br /&gt;
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In 1908, Medrano hired a new clown duet, [[Antonet]] &amp;amp; [[Grock]]. Grock had replaced Antonet’s previous partner, the celebrated and immensely creative [[Little Walter]], whose appearance Grock had copied to perform the musical entrée Walter had created with Antonet. The piece, with some additions and much stretching, will make Grock a star. The following year, Louis Fratellini died in Warsaw from a smallpox epidemic, and his brothers, François, Paul and Albert joined forces and formed a clown trio to help support Louis’s widow and large brood. Although these two names, Grock and Fratellini, will long be associated with Medrano, the circus’s stars were then the talented and popular Spanish clowns [[Rico and Alex]] (Briatore), who were featured on the Boulevard de Rochechouart from 1910 to 1914.&lt;br /&gt;
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As Parisians’ favorite clowns, Rico &amp;amp; Alex had successfully supplanted the Nouveau Cirque’s Foottit &amp;amp; Chocolat, whose association was coming to an end. As a matter of fact, Medrano was now the Parisians’ circus of choice. The Cirque d’Hiver had been converted into one of Paris’s worst movie houses in 1907; this was followed for a few months, at the beginning of 1908, by the Cirque Métropole, although it quickly re-opened as a bona-fide circus under a new management (and a new name: ''Cirque de Paris''). As for Medrano, it had dealt smartly with the emerging success of the cinematograph: From 1912 until the end of World War I, its programs ended with a short projection of the &amp;quot;American Vitograph&amp;quot; ''(sic)''&amp;amp;mdash;which morphed into the &amp;quot;Medranograph.&amp;quot; Other acknowledgment of changing times: Geronimo had installed electric lighting. &lt;br /&gt;
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Medrano had become such a famous name around Europe that, in 1912, the Austrian director [[Ludwig Swoboda]] renamed his ''Zirkus Lajos'', [[Circus Medrano-Swoboda|Circus Medrano aus Wien]] (&amp;quot;Vienna’s Circus Medrano&amp;quot;). Since there were no trademark agreements at the time between European countries, ''Medrano'' eventually became a household name in Austria. Although everything was looking good for his circus, it was not the same for Geronimo Medrano. Sometime in late 1910, he had a stroke that left him partially paralyzed. Nonetheless, he bravely continued running his circus until April 27, 1912, when he died suddenly of an attack of uremia; he was sixty-two, and his son, Jérôme, who sadly had had very little time to know his father, was only five years old. Geronimo had bequeathed the Cirque Medrano to him.&lt;br /&gt;
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===Berthe Medrano’s Circus===&lt;br /&gt;
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[[File:Berthe_Medrano,_Jerome_and_Rodolphe_Bonten.jpeg|thumb|400px|left|Berthe &amp;amp; Jérôme Medrano with Rodolphe Bonten (c.1918)]]Geronimo &amp;quot;Boum-Boum&amp;quot; Medrano was inhumed near his first wife, Blanche, after whose death he had commissioned a mausoleum at the nearby ''Cimetière de Montmartre''. A large crowd accompanied him to his last resting place. As for Berthe Medrano, she was intent on preserving their son’s inheritance; without hesitation, she took over the management of the circus that bore her and her son’s name. She left to her late husband’s associates, Emilio Maîtrejean and Thomas Hassan, the care of running the circus’s day-to-day operation, and asked a former acrobat whom she trusted, Rodolphe Bonten, to help her cast the shows. As for the circus’s finances, she took full control. To make things clear, five-year-old Jérôme Medrano, dressed in the traditional blue uniform of the ''régisseurs'', appeared at the ring entrance at some matinees.&lt;br /&gt;
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Berthe Medrano proved a good administrator, and the team that surrounded her was indeed very competent. Business was still going strong. In 1912, the year of Geronimo’s death, the Cirque de Paris had closed again and become a theatre-cum-boxing arena. The political situation in Europe was tense; Kaiser Wilhelm II of Germany was posturing aggressively, and Parisians, who had not forgotten the war of 1870, were on edge. In September 1913, the Nouveau Cirque began its season with matinees only, three days a week, Thursday, Saturday and Sunday. In October, the Cirque de Paris, now known as ''Le Palace'', morphed once again into a movie house. Yet Medrano was still doing well, in spite of the fact that Emilio Maîtrejean, who had been instrumental in its success&amp;amp;mdash;and indeed its very existence&amp;amp;mdash;had decided to retire, to everybody’s chagrin.&lt;br /&gt;
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In the spring of 1914, Rodolphe Bonten hired the new clown trio of François, Paul and Albert Fratellini, who had just been featured with great success at [[Circo Price (Madrid)|Circo Parish]] in Madrid. They didn’t stay long: On June 28, a young Serbian  who was a Yugoslav nationalist assassinated the crown prince of Austria-Hungary, the Archduke Franz Joseph; Austria declared an ultimatum to Serbia, which supported Yugoslavism (the movement for a South Slavic national identity); on July 28, the Austrian army invaded Serbia, which, owing to the intricate web of European alliances, triggered World War I. On August 3, Germany, Austria’s main ally, declared war to France; Paris’s circuses and theatres closed their doors. The Fratellinis returned to Circo Parish, along with Rico &amp;amp; Alex.&lt;br /&gt;
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In December 1914, the Nouveau Cirque reopened. Most theatres, however, remained closed until the beginning of 1915. Then, little by little, they came back to life, including Medrano. Casting the shows had become difficult since a large number of male performers had been drafted, and although the circus is international by essence, the situation made it impossible to tap into the large reservoir of performers from countries that happened to be at war with France.&lt;br /&gt;
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[[File:Fratellini_Trio_(1932).jpeg|thumb|right|450px|The Fratellinis (1932)]]Like the majority of their colleagues, the Fratellinis disliked William Parish, the owner of Madrid’s Circo Parish (the old [[Circo Price (Madrid)|Circo Price]]), and they let Bonten know that they were available and ready to come back to Paris. Between the three of them and their late brother Louis, they had a large family to support, and their nationality was perhaps a little too difficult to sort out (Paul was born in Sicily, François in Paris, and Albert in Moscow): They were exempt from military service. Bonten jumped on the opportunity.&lt;br /&gt;
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The Fratellinis were not only extremely talented, they also offered something new: A clown trio. Until then, clowns had worked solo, or as a clown/auguste team, like Foottit &amp;amp; Chocolat and many others after them. To the traditional duet of François (the clown, charmingly light and graceful) and Paul (a ridiculous and bombastic auguste), they had added Albert, who had developed an extravagant and phantasmagoric auguste character that injected a good dose of mirthful surrealism in everything the brothers did. Additionally, they had a vast repertoire of classic entrées and musical interludes to which the unusual composition of their team&amp;amp;mdash;and their imagination&amp;amp;mdash;added a veneer of novelty.&lt;br /&gt;
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At a time when Parisians needed to escape the daily reality of a war with no end in sight, Medrano was the place to go: It always had good clowns to bring smiles on anyone’s face in a warm and familiar atmosphere&amp;amp;mdash;but the Fratellinis delivered even more: A total escape into a hilarious world of pure fantasy. They quickly become the talk of Paris, and Medrano being the circus it was, journalists, artists, writers, and Paris literati in general transformed the trio into stars of first magnitude. In time, Fernand Léger and a host of painters immortalized them, journalists chronicled their every move, writers wrote essays and books about them, their likeness was used in advertising, and their fame eventually (after the war) crossed the borders. Medrano collected the fruits of their glory.&lt;br /&gt;
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===The Bonten Era===&lt;br /&gt;
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When World War I came to an end on November 11, 1918, Medrano entered an era of great prosperity. The Cirque d’Hiver and the Cirque de Paris were inactive, and the Nouveau Cirque was desperately trying to survive. Medrano had become &amp;quot;Le cirque de Paris&amp;quot; (&amp;quot;Paris’s own circus&amp;quot;), a label it will keep as its slogan until the end. Fernand Léger (1881-1955) exhibited his neo-cubist painting ''Le Cirque Medrano'', the first of a series of works on the circus. The Fratellinis were still Paris’s ''enfants chéris'' (favorite children), and they still attracted crowds to the Boulevard de Rochechouart; habitués returned every week to see what new entrée these very imaginative clowns were going to offer. &lt;br /&gt;
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[[File:Dario-Bario-Rhum.jpg|thumb|left|400px|Bario, Dario &amp;amp; Rhum]]Yet all was not well. Berthe Medrano was ill; she was diagnosed with cancer. In January 1918, she transferred the management of the circus to her faithful and capable right-hand man, Rodolphe Bonten, and went to rest in a villa she had bought in Nice, on the French Riviera. Jérôme was eleven, and she had to secure his education and his future: The circus was his, and Berthe wanted to ensure that it would remain so.  Upon her return to the capital, she had a long discussion with Bonten. On June 20, 1918, Rodolphe Bonten and Berthe Medrano were married in the 9th Arrondissement's City-Hall of Paris. It was indeed a marriage of convenience: Rodolphe, as Jérôme’s stepfather, would become his legal guardian, and for the time being, with or without Berthe, the Cirque Medrano would remain a family affair.&lt;br /&gt;
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Rodolphe Bonten was basically a honest man, devoid of ostentation and personal ambitions, and a capable director. Artistically, he was not overly imaginative, but he knew what worked for Medrano, and the circus continued to flourish under his reign. His only flaw, according to [[Festival Mondial du Cirque de Demain|Louis Merlin]], who was an habitué of Medrano, was his habit to play nervously with the coins in his pants’ pockets each time he watched an attractive female performer in the ring. If he had a good eye for pretty girls, he also had a good eye for outstanding acts&amp;amp;mdash;as well as for clowns: Beside the Fratellini, such legendary clowns as [[Antonet]] &amp;amp; [[Béby Frediani|Béby]], the [[Dario-Bario|Dario-Barios]], [[Porto]], and [[Rhum]] came to grace Medrano’s ring under his tenure, and became bona-fide stars of the Parisian circus.&lt;br /&gt;
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Berthe Medrano finally passed away on August 30, 1920, leaving to Rodolphe Bonten the responsibility of the circus&amp;amp;mdash;and of her son, who was orphaned at the age of thirteen. Berthe was buried near Geronimo at the ''Cimetière de Montmartre'', and Bonten became de facto Jérôme’s tutor; to his credit, he made sure that Jérôme receive an excellent education in the best possible schools. Bonten also took Jérôme on circus trips during school recesses, but although they both lived in the circus’s apartment and Jérôme was thus immersed into circus life, Bonten didn’t try to involve him in any aspect of the circus’s affairs. Like many kids orphaned in adolescence, Jérôme resented a stepfather that only fate had imposed on him&amp;amp;mdash;and who apparently didn’t provide him with the kind of parental affection and interest he craved. &lt;br /&gt;
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Yet, Bonten ensured that Jérôme’s circus continued to thrive. In 1921, the Cirque de Paris reopened at last as a circus under a new management. In 1923, [[Gaston Desprez]] took the lease of the Cirque d’Hiver, and revived it successfully as the major circus it had been. Then, in 1924, Oscar Dufresne and Henri Varna transformed the large [[Empire Music-Hall Cirque|Théâtre de l’Empire]] into a &amp;quot;Music-Hall Cirque&amp;quot;, a variety house with an emphasis on circus acts, on the model of the famous Wintergarten variety theatre in Berlin. There were now five active circuses in Paris (if one includes the Empire, which was playing on the same turf). Although the Nouveau-Cirque and the Cirque de Paris didn’t present a big threat to Medrano, the Cirque d’Hiver and the Empire quickly became serious contenders. Medrano still had the Fratellinis, who had a huge success in 1923 with a comic pantomime, ''Les tribulations d’un travailleur'' (&amp;quot;A Workman’s Trials&amp;quot;)&amp;amp;mdash;but not for long. &lt;br /&gt;
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[[File:The_Cairolis_c1930.jpg|thumb|righ|400px|Porto, Cairoli &amp;amp; Carletto]]At the end of the 1924 season, the Fratellinis asked Bonten for a raise. Bonten made a very ill-advised move: He refused to change their contract; Gaston Desprez jumped on the opportunity and offered them what they asked and more: He made them Artistic Directors of the Cirque d’Hiver&amp;amp;mdash;a purely honorific title, but which was very good publicity. Although the Fratellinis wouldn’t find at the Cirque d’Hiver the type of audience they had had at Medrano (in terms of quality and prestige), they were nonetheless extremely popular, and Desprez had realized a major coup.  Bonten saw the evidence of his mistake at the beginning of the 1924-1925 season when Medrano’s box office receipts showed a significant decline.&lt;br /&gt;
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Some relief came in April 1926 when the ailing Nouveau Cirque finally shut down&amp;amp;mdash;although its closing probably profited the Cirque d’Hiver more than Medrano. Meanwhile, Jérôme Medrano was doing his mandatory military service at Saint-Cyr l’École, near Paris. The following year, Grock was starring at the Empire (he had long left the circus ring for the much more lucrative variety stage), while Medrano launched two new clown trios, the Dario-Barios, who had adjoined to their group the remarkably talented auguste, Rhum, and [[Jean-Marie Cairoli|Cairoli]], [[Porto]] &amp;amp; [[Charlie Cairoli|Carletto]]. Medrano was still the ideal place to showcase talented clowns, and if it had lost the Fratellinis, the circus had a faithful audience that truly appreciated good clowning&amp;amp;mdash;which the Dario-Barios and the Cairolis indeed delivered&amp;amp;mdash;and  still filled its seats to have a good time.&lt;br /&gt;
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Then, on May 18, 1928, Jérôme Medrano reached his majority. He had previously claimed to wish to continue his studies and become a Merchant Navy officer. But suddenly everything changed, rather drastically. On June 4, to everyone’s surprise (Jerôme himself admitted later that it was on a whim), he married the beautiful Rachel Baquet, whose father was the [[Cirque Palisse]]’s general manager and owned a café near the circus; Mr. Baquet was also in charge of Medrano’s bar and concessions. &lt;br /&gt;
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Then, just ten days later, on June 14, 1928, Jérôme Medrano took officially possession of his circus, and dismissed Rodolphe Bonten, to whom he offered a generous severance pay. Bonten, certainly a little shaken, disappeared from the circus scene. Before anyone could take a breath, Jérôme was fully in charge and the Cirque Medrano was entering a new era. He made his new wife, Rachel, co-director (she too had been born into the circus, and her family could lend some help) and the press dubbed the young couple, &amp;quot;Europe’s youngest circus directors.&amp;quot;&lt;br /&gt;
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===Enter Jérôme Medrano===&lt;br /&gt;
Along with [[Bertram Mills]] and his sons [[Cyril Mills|Cyril and Bernard]] in England, [[John Ringling North]] in the United States, and before them, [[Hans Stosch-Sarrasani|Hans Stosch]] in Germany, Jérôme Medrano belonged to an unconventional breed of circus directors that had received a solid academic education, and whose cultural interests and social connections expanded outside the circus world&amp;amp;mdash;but who showed a genuine enthusiasm for the circus that was triggered by a mixture of vested interest and artistic inclination. They would change the image of the circus in their respective countries and beyond.&lt;br /&gt;
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[[File:Jerome_Medrano.jpeg|thumb|left|300px|Jérôme Medrano (c.1952)]]Jérôme Medrano inherited a business in good shape, artistically successful and fiscally stable&amp;amp;mdash;conditions for which Berthe Medrano and Rodolphe Bonten can be commended. Although he had spent his childhood and most of his adolescence within the walls of his circus, Jérôme didn’t know much about its day-to-day management&amp;amp;mdash;although he was of course quickly made aware of the peculiar situation of its physical ownership. Even so, Jérôme set about working and began by honoring all the contracts signed by his stepfather for the upcoming season (which included, as usual, some of the best artists&amp;amp;mdash;and clowns&amp;amp;mdash;in the business). &lt;br /&gt;
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Jérôme would have a hard time, however, coming to terms with Bonten’s foolish dismissal of the Fratellinis, whom he had known since childhood, and was not adverse to giving it as a good reason for his stepfather’s dismissal. Meanwhile, he surrounded himself with a mixture of old Medrano collaborators, such as Thomas Hassan, the circus’s ''Régisseur'', and newcomers such as the well-known journalist and circus chronicler André Legrand-Chabrier, who, as ''Secrétaire Général'' of the circus, took over Press and Public Relations. The latter’s appointment to a key position that was customary in Parisian theatres but not in the circus was the first sign of a new managerial style.&lt;br /&gt;
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Unlike most of his circus colleagues, who relied heavily on agents to find new talent, Jérôme Medrano would regularly visit Europe’s and America’s major circus and variety shows, and do his own talent search. In January 1929, as the Medrano season ran steadily on its rails, Jérôme and Rachel Medrano went to Berlin to visit the famous WinterGarten, where some of the best circus and variety acts of the time could be seen. Then they made a stop in Gottingen to see the fabled [[Circus Sarrasani]] and meet with its legendary director, Hans Stosch-Sarrasani. The giant German circus’s innovative organization, its technical achievements, and its spectacular show duly impressed the Medranos. After his visit, Jérôme was in the opinion that Sarrasani was perfection, the model after which all traveling circuses should be run. His discovery of Sarrasani would serve him later. &lt;br /&gt;
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After the end of the 1928-29 Season in June, the circus building was entirely refurbished. Everything was painted anew, and Barbier-Daumont, a decorator well known in the theatre community, painted a series of frescoes on the periphery of the house, which depicted scenes of the life of traveling circus folks. Jérôme had also four cabins installed on the lower roof of the building to house spotlights and their operators, and a fifth one was installed in the foyer, where the projector of the old &amp;quot;Médranographe&amp;quot; used to be. Elie Anatole Pavil (1873-1948) was commissioned two large paintings: the first one, representing traveling entertainers parading on a fairground stage, welcomed the guests in the entrance lobby; the other one, picturing Paris’s most famous circus and variety critics, was displayed behind the new bar installed backstage. &lt;br /&gt;
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When the circus reopened on September 9, 1929, its program had been entirely conceived by Jérôme Medrano. It was a true Parisian event attended by the ''Tout-Paris''&amp;amp;mdash;journalists and major critics, press and industry magnates, theater stars and producers, renowned novelists and authors, publicity-hungry politicians, and everyone else with a name. The show featured a bounty of remarkable acts, including a spectacular ten-person bar-to-bar flying act on two porticos placed in cross, created especially for Medrano by [[Edmond Rainat]], and an eighteen-horse liberty act presented by [[The Schumann Dynasty|Ernst Schumann]]. The clowns were [[Charley-William Ilès|Ilès]] &amp;amp; [[Emile-Paul Loyal|Loyal]], and the trio Caïroli, Porto &amp;amp; Carletto, who had just signed a long-term contract. &lt;br /&gt;
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At the end of the evening, in the ring, Thomas Hassan was made ''Officier de l’Instruction Publique'' (which has thankfully been replaced since by the ''Ordre des Arts et Lettres'', a more suitable distinction!). It was indeed a night to remember: Jérôme’s &amp;quot;New Medrano&amp;quot; was launched!&lt;br /&gt;
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===Medrano’s Golden Age===&lt;br /&gt;
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Jérôme Medrano’s revamped circus emerged as a contemporary place of entertainment, where a fast-paced show with top-shelf acts was presented in the best possible light&amp;amp;mdash;which can be taken literally, since acts were often isolated in spotlights instead of being presented in full light, as had been the norm since the gas chandeliers. Of course there were some old-timers who waxed nostalgic, complaining that the circus had lost its original atmosphere and the show looked like a ''music-hall'' (variety) production instead of the age-old circus presentation they had expected. Yet this change of style was precisely what brought back around Medrano’s ring a new, younger and more sophisticated audience that had hitherto shifted its interest from the circus to the more fashionable variety stage.&lt;br /&gt;
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[[File:Vesque_Rastelli_1930.jpg|thumb|right|350px|Enrico Rastelli by M.J. Vesque (1930)]]Jérôme Medrano, who had spent time among the well-educated and affluent youth of his generation (notably at the exclusive École des Roches), was well aware of this shift. He also intended to bring back to Medrano top circus acts that had deserted the ring for the comfortable and lucrative varieties. The clown Grock, who had learnt most of his craft at Medrano and whom Jérôme had known since childhood, had become a major international star on the variety circuit&amp;amp;mdash;a status among clowns that only the Fratellinis had acquired in the circus ring, albeit without the financial rewards. Working now exclusively on stage, Grock had become a wealthy man, and several other top performers made a much better living in variety theatres than they had done in the circus.&lt;br /&gt;
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Jérôme had not been raised as a circus insider, taught to believe in the circus world’s unspoken law proclaiming that artists should accept relatively low wages if they wanted work and, more often than not, harsh working conditions. Top circus acts that could work for more money and in more comfortable surroundings in variety theatres had obviously ceased to believe in these old tenets, a fact Jérôme had indeed noticed&amp;amp;mdash;even though some of his more &amp;quot;circus-savvy&amp;quot; colleagues had not. In February 1930, he signed his first contract with Grock, offering him the price and conditions he had enjoyed at the Empire, where he had appeared regularly as a headliner. It was an expensive proposition, but Grock’s act was about forty minutes long, which would have required four or five individual acts to replace anyway&amp;amp;mdash;and his name alone was sure to sell tickets. &lt;br /&gt;
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Grock was very much in demand all over Europe, so his Medrano debut had to wait until January 1931. Although Grock’s agent was his brother-in-law, Dante Ospiri, negotiations had been held on a very personal level between Jérôme and Grock. Nonetheless, Jérôme had appreciated Ospiri’s business style, and hired him as Medrano’s booking agent.  In April 1930, the great Portuguese equestrian [[Roberto de Vasconcellos]] was featured at Medrano. Vasconcellos, who was new to the circus, didn’t like to handle his own engagements, and he signed a ten-year contract with Jérôme, in effect making him his exclusive manager and agent. At the outbreak of WWII, Jérôme would send Vasconcellos to [[Ringling Bros. and Barnum &amp;amp; Bailey]] Circus in the United States, where the famous equestrian became a long-time fixture.&lt;br /&gt;
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The 1930-31 Season opened with the return to Medrano of the clowns Antonet &amp;amp; Béby, and in October, the world’s greatest juggler, the legendary [[Enrico Rastelli]], was the star of the show for the next five weeks. Although he was born in a circus family, the phenomenal Rastelli had long switched to the variety stage, where he enjoyed top-billing&amp;amp;mdash;and top money. It was the first time he had appeared in a circus ring in France. Medrano’s always-efficient press department made it an exceptional event, and crowds filled the seats to see Rastelli in the ring. Jérôme immediately signed him for a return engagement the next season. Another coup was, in December, the first appearance in a circus ring of the American transvestite trapeze and tight-wire artist [[Barbette]], one of the brightest and most talked-about stars of the variety stage, who was all the rage then, and the darling of Paris’s homosexual elite led by Jean Cocteau. Meanwhile, in June 1930, the ailing Cirque de Paris shut its doors for the last time.&lt;br /&gt;
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Grock made at last his first star appearance at Medrano in January-February 1931 (&amp;quot;For the first time on a circus ring in 23 years!&amp;quot; said the printed program), selling out for his full run of five weeks. Jérôme’s policy was proven right: He made a good profit in spite of the cost of hiring such expensive variety acts, and, most importantly, he brought to his Parisian circus a new audience that found at Medrano the same quality of presentation they experienced in the best variety theaters. They discovered in the process clowns and other variety acts they had never seen on stage, some of whom they quickly adopted as their new favorites. Jérôme was creating a modern-day following as well as a fresh crop of circus stars. &lt;br /&gt;
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[[File:Barbette_by_Gesmar.jpg|thumb|left|350px|Barbette by Charles Gesmar (1926)]]The 1931-32 season also saw the debut of [[The Loyal Dynasty|Georges Loyal]] as ''Régisseur de piste'' (Ringmaster); he would remain at Medrano until 1939. Over the years, there had been several members of the vast Loyal family acting as ''Régisseur'' in various Parisian circuses, and somehow, &amp;quot;Monsieur Loyal&amp;quot; was often cited as an ideal illustration of the traditional Ringmaster. However, this was Medrano: The ''Régisseur'' was more than a Ringmaster and a presenter; he was the clowns’ straight man, and for eight long years, all Medrano’s star-clowns&amp;amp;mdash;and they were many&amp;amp;mdash;interacted with Georges Loyal in the ring, respectfully addressing him, of course, as &amp;quot;Monsieur Loyal.&amp;quot; The name, which already defined the function, finally stuck to it&amp;amp;mdash;to such an extent that, in time, all French ringmasters became known as &amp;quot;Monsieur Loyal,&amp;quot; and the term ''Monsieur Loyal'' has become today the French generic term for ''Ringmaster''. &lt;br /&gt;
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Everything was going well, but Jérôme was concerned by the situation of his circus building, of which he was still just the tenant&amp;amp;mdash;albeit without any constraints as long as he paid his rent. At some point, the circus had become the property of the Saint family, a rich and powerful family of French industrialists that ran the Saint Frères company, France’s foremost hessian manufacturers, makers of ropes, canvas covers, tarpaulins, tents and even circus big tops. Roger Saint, who was in charge of the family’s holdings, informed Jérôme that the property was divided between members of the family, most of whom, satisfied with the steady income it provided, were unwilling to sell. Since the rent was relatively low, and the family was in no way interfering in his business, Jérôme had to be content with the situation.&lt;br /&gt;
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In May of 1930, Jérôme Medrano made his first trip to New York, where he met up with his closest friend, Maurice Chevalier, the popular French singer who had become a Hollywood film star. They visited [[Ringling Bros. and Barnum &amp;amp; Bailey]] Circus, which was showing at Madison Square Garden; Jérôme met [[John Ringling North]], a circus director of his generation and with a similar background. For years to come, there would be a constant flow of acts between Medrano and Ringling. Then Chevalier took Jérôme to Hollywood, where Jérôme (who was a huge cinema enthusiast) established contacts he would use later. Meanwhile, in August, a new lighting system was installed in the circus, including modern projectors affixed on the columns around the house, equipped with rolling gels that allowed changing their color automatically. It was true theatrical lighting, hitherto unheard of in the circus world. &lt;br /&gt;
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Then, during a scouting trip to Italy in 1931, Jérôme discovered a little-known Italian circus family whose members were exceptional equestrians, able to present a large variety of acts. He signed the [[The Cristiani Family|Cristiani family]] for the entire 1931-32 Season. John Ringling North saw them there, and two years later, the Cristianis went to work with Ringling Bros. in the United States, where they settled and eventually created their own circus. That season also saw the emergence of the auguste Rhum as a major clown star, and the tight-wire somersaulter [[Con Colleano]] made a profound impact and became the new talk of the town. [[The Andreu-Rivels]], with [[Charlie Rivel]]’s impersonation of Charlie Chaplin on the flying trapeze, were another hit that season. At the end of February, Medrano presented a revue, ''La Revue de Medrano'', with music by Maurice Yvain (1891-1945), which ran successfully for five weeks, before the return of Grock in April. It was a very good season.&lt;br /&gt;
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===Innovations And Expansion===&lt;br /&gt;
In September 1932, [[Jean Coupan]] left the Cirque d’Hiver and replaced André Legrand-Chabrier as Medrano’s ''Secrétaire Général'': For someone of Coupan’s imagination and energy, Medrano was indeed the place to be. The new season was one of innovations. It saw the creation of the ''Club des Amis de Medrano'' (Friends of Medrano Association), the embryo of a circus school for children aged eight and up, which proved very popular. The well-known circus collector Maurice Thomas-Moret organized exhibitions of rare prints and objects from of his outstanding collection in the circus’s foyer.&lt;br /&gt;
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Medrano’s printed program became a magazine, with articles chronicling the circus and the major artists of each new show (which was now renewed every two weeks); Louis Merlin produced a regular radio broadcast from Medrano, mirroring the magazine, with interviews and news. To many circus cognoscenti, Medrano had become an exclusive club where they met around the ring, and in the foyer amidst Thomas-Moret’s treasures. Medrano was definitely not an ordinary circus.&lt;br /&gt;
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In November, for the first time since the Nouveau Cirque’s demise, Medrano presented a water pantomime, ''Le Cirque sous l’Eau'', with an army of clowns, beautiful naiades in an aquatic ballet, and a battalion of sixteen showgirls. The pool equipment had been rented from the famous lion trainer [[Alfred Schneider]]’s circus in Germany. ''Le Cirque sous l’Eau'' ran successfully for three months. The legendary equestrienne [[Therese Renz]] (who was seventy-three and had not been seen in Paris since 1900!), the superlative Russian juggler [[Massimiliano Truzzi]], and Con Colleano were among the 1932-33 Season’s highlights. &lt;br /&gt;
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[[File:Medrano_Construction.jpeg|thumb|right|450px|Medrano Construction (1932)]]The year 1932 was another landmark year for Jérôme Medrano: Through his father in law, he had purchased the semi-construction of [[Alexandre Palisse]], who had just passed away. On September 30, 1932, he re-launched it as the itinerant Cirque Medrano in the port city of Le Havre. It was an elegant and surprisingly comfortable construction that was built to travel easily&amp;amp;mdash;probably the best traveling construction in Europe after Sarrasani’s. It was heated, had a good lighting system, a coco mat in the ring, and was elegantly furbished with theatre folding seats, as in its Paris counterpart. It was perfect to represent the illustrious Parisian circus in large provincial cities, where the construction was erected for two weeks to one month on the occasion of large regional fairs.&lt;br /&gt;
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Jérôme ensured that the itinerant Medrano’s program reflected the quality of his Parisian shows. The inaugural production included the clowns Dario-Bario, the famous bar-to-bar flying act of the Zemgannos, the American acrobatic dancer [[Barbara La May]], the spectacular jockey act of the [[Ricono-Strula Troupe|Ricono-Strulas]], and other acts of the same caliber. The Medrano construction toured every year until the end of 1937, and kept the route established by Palisse, visiting the same cities at the same periods, and thus building a faithful provincial audience. &lt;br /&gt;
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In 1937, the Medrano construction starred Grock. However, Grock was not as adulated in the French provinces as he was in European capitals such as Paris, Berlin or London&amp;amp;mdash;or in Germany, the country of his greatest triumphs. The tour didn’t meet expectations, and Grock, who got a percentage of the receipts and was not used to performing in front of empty seats (even if they were few), broke his contract before the end of the tour. Still, this disappointment was not what led Jérôme to abandon the construction at the end of the season. Its closing is related to another, unfortunately short-lived touring venture, and perhaps the most promising of Jérôme Medrano’s projects, the tenting show known as &amp;quot;Medrano Voyageur&amp;quot; (Traveling Medrano).&lt;br /&gt;
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===Medrano Voyageur===&lt;br /&gt;
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The Medrano construction had allowed Jérôme Medrano to make his circus known out of the confines of the French capital. However, he had succeeded in the limited market of only a few major cities: The construction was not conceived for quick moves and short stays, and its outreach remained therefore limited. Jérôme wanted to make Medrano a household name all over the country, and in 1935, with this in mind, he laid out plans for a modern tenting show, built on the model of what he considered Europe’s best and most advanced touring circus, Circus Sarrasani. &lt;br /&gt;
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[[File:Cirque_Medrano_Voyageur_1936.jpeg|thumb|450px|left|Medrano Voyageur by M.J. Vesque (1936)]]The idea may have come one year earlier, when Gaston Desprez, the Cirque d’Hiver’s lessee, lost his job, his lease, and put the equipment of his [[Cirque Fratellini]] for sale. Jérôme eventually acquired it at a good price; it needed serious refreshing, which was not a major problem, but the big top was in poor shape, so Jérôme ordered a new one from Europe’s premier tentmaker, Stromeyer in Constanz, Germany&amp;amp;mdash;Sarrasani’s supplier. Jérôme had wanted to adopt the new tent design introduced by Sarrasani, a round big top with four poles in square, but his advisers (the Baquet family, who had the traveling circus knowledge he didn’t have) dissuaded him to do so, arguing that too many places in France wouldn’t be wide enough to accommodate a large round big top. So Jérôme settled for an elongated tent, a classic four-pole in line. &lt;br /&gt;
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The new Medrano Voyageur sported a white big top with the name Medrano written in red letters on each side, and a colorful &amp;quot;rainbow&amp;quot; façade&amp;amp;mdash;not as imposing as Sarrasani’s, but nonetheless spectacular enough to impress French audiences. The rolling stock was painted red, with a diagonal yellow band on the flanks with ''Medrano'' in red letters. The fencing, too, was painted red and yellow, and there was a powerful hot-air generator to heat the tent in the cold season. Everything was immaculate: The ring and house crews were dressed in resplendent red uniforms adorned with gold trimmings, and even the tent crew wore uniform overalls, with the name Medrano on their back. Unlike Sarrasani, though, the circus traveled by rail.&lt;br /&gt;
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More noteworthy however, was the setup inside the tent: there was a stage behind the ring, and the 20-piece band was installed in an &amp;quot;orchestra pit&amp;quot; between the stage and the ring. The ring entrances were located at each side of the stage. This was a very original setting&amp;amp;mdash;although not that different from the old [[Astley’s Amphitheatre]] or [[Royal Circus]] buildings in London in the 1780s! This configuration allowed a fast-paced show (a obsession shared by Jérôme Medrano and [[Cyril Mills]]), with acts or intermezzi performed on stage during ring changes, and acts exiting the ring on one side, while others entered on the other. &lt;br /&gt;
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The show opened Porte d’Auteuil, in Paris, on February 26, 1936. The program offered the high quality that was expected from Medrano: Headliners such as the tiger trainer [[Togare]] (&amp;quot;The Valentino of the Ring&amp;quot;), the clowns Cairoli, Porto &amp;amp; Carletto, the [[Clérans]], then the hottest aerial act on the market, [[The Rancy Dynasty|Henry Rancy]]’s equestrian acts, and several large acrobatic troupes&amp;amp;mdash;among many others top attractions.  Opening night was a huge success duly hailed by Parisian critics, and the long provincial tour that followed was rewarding, with a succession of sold-out houses in major cities such as Lyon and Marseilles. &lt;br /&gt;
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[[File:Togare_-_Medrano.jpeg|thumb|450px|right|Togare (1937)]]Rachel Medrano’s family held key-positions within the traveling units. The attractive young co-director, however, had what the French called a ''temperament''; her marriage to Jérôme had been a hurried affair that had not been built on solid foundations. There were rumors of Rachel’s indiscretions, which apparently increased when the tenting show offered her an escape from the Paris building and her husband. She found a relative freedom during her escapades to Medrano Voyageur, where she probably felt safe among her own family. Jérôme probably had his own affairs&amp;amp;mdash;albeit more discretely. Rachel and Jérôme’s marriage was quickly disintegrating.&lt;br /&gt;
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In this poisonous atmosphere, Medrano Voyageur began its second season on February 20, 1937, with the Fratellinis, now back to Medrano, heading a copious program that included the celebrated cat trainer [[Vojteck Trubka]] in his French debut, the flying trapeze act of the Zemgannos, the [[Circus Carré|Carrés]]’ horse acts form The Netherlands, and as a special attraction, the track-and-field champion racer, Jules Ladoumègue&amp;amp;mdash;a French sport hero&amp;amp;mdash;who raced around the ring against a horse. Business continued to be good, and Radio Luxembourg, one of Europe’s first commercial radio stations, broadcast a four-part radio documentary on the daily life at Medrano Voyageur. &lt;br /&gt;
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Yet Jérôme noticed that the box-office statements didn’t always match what he saw in the house; obviously the Baquets cooked the books, and part of the income was diverted into their pockets. Jérôme Medrano was a man of impulse, as he had already shown when he married Rachel and fired Rodolphe Bonten. He proved it once more: On August 5, he suddenly showed up on the circus lot, fired his management staff (most of whom were Baquet’s people), and closed the circus in mid-tour. &lt;br /&gt;
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The performers were let go, and Medrano Voyageur returned to its winter quarters in Saint-Denis, near Paris. Six months later, in January 1938, after its last contracted performance in Marseilles, Jérôme also closed the construction. Both circuses’ equipments were put for sale. As for Rachel, she packed and left the Rue des Martyrs’ apartment. The marriage was over.&lt;br /&gt;
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===Before The Storm===&lt;br /&gt;
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Jérôme was now free to focus his attention exclusively on his Parisian circus. The circus landscape had begun to change significantly: In 1933, Gaston Desprez had added to the Cirque d’Hiver’s ring a water basin comparable to the Nouveau Cirque’s ''piste nautique''. It had been a major expenditure, unfortunately followed by a string of expensive pantomimes starring the Fratellinis, the box-office returns of which were not substantial enough to cover not only their cost, but also the debt incurred by the water basin.  In June 1934, the debt-ridden ''Société du Cirque d’Hiver'' let go Gaston Desprez, and the Cirque d’Hiver’s lease was up for grab to the highest bidder.  &lt;br /&gt;
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[[File:Medrano_by_night.jpeg|thumb|left|300px|Medrano by night (1938)]]The brothers [[Cirque Amar|Amar]], who were well known in Paris and owned France’s premier traveling circus, had begun negotiations, but they were short-circuited by the [[The Bouglione Family|Bouglione family]], who had started on the fairgrounds with a traveling menagerie (like the Amars), before making a fortune with a fake ''Cirque Buffalo-Bill'' that propelled them to the forefront of the French circus scene. Thus the Cirque d’Hiver reopened for the 1934-35 season under Bouglione management, and the Fratellinis, who were not part of the deal, became free agents. &lt;br /&gt;
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Not to be outdone, the Amars took the management of the Empire Theatre the following year (1936). These events were not of Jérôme’s immediate concern. Medrano continued to present star variety acts rarely seen in a circus ring, such as [[Joe Jackson]], &amp;quot;The Bicycle Thief,&amp;quot; or to reveal extraordinary performers making their Parisian (and French) debut, such as the Indian bouncing-rope acrobat [[Kannan Bombayo]]. &lt;br /&gt;
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In June 1934, Jérôme installed new, more comfortable seats, similar to those used in movie houses. Clowns, as always, remained Medrano’s main drawing card; in 1936, Medrano offered a comic pantomime, ''Rhum à Rome'' (&amp;quot;Rhum in Rome&amp;quot;), featuring the celebrated auguste Rhum, his partner, the clown [[Manetti]], and another popular clown duet, [[Alex Bugny|Alex]] and [[Porto]]. The piece also featured the dazzling Bluebell Girls, who, after World War II, would become the iconic drill-dancing team of the legendary Lido of Paris.&lt;br /&gt;
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Jérôme lured the Fratellinis back to Medrano for the 1936-37 Season&amp;amp;mdash;a major circus event&amp;amp;mdash;and he hired Jean Granier, a popular ''chansonnier'' (a typically Parisian stand-up comedian/lyricist/singer with a bent for topical&amp;amp;mdash;and political&amp;amp;mdash;jokes), to present the acts with little texts, and cover the changes in the ring (performed in the dark) with an assortment of wisecracks. It was the first blueprint of the style adopted afterward by French ringmasters. &lt;br /&gt;
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Later, a speaking ''auguste de soirée'' (such as [[Boulicot]] or [[Loriot]]) would exchange quips with the host, establishing a tradition that would be emulated by other circuses. The first of these speaking duets was [[Emile Recordier|Recordier]], a former journalist, who replaced Jean Granier the following season, along with the auguste Boulicot: They made their debut together in the ring after having been a popular fixture of the Empire’s stage for many years. The true Ringmaster (or ''Régisseur'') was still Georges Loyal, but Recordier &amp;amp; Bouliucot helped define Medrano’s hosting style.&lt;br /&gt;
In the summer of 1938, a major revamping of the house was carried out: The boxes and the foyer behind them were suppressed, and the space so created was filled with additional seats. Likewise, the old “promenoir” at the back of the house disappeared to give way to an extra row of seats. The house capacity in premium seats was thus substantially increased, which would result in a necessary higher income when a show was successful, which happened relatively often. &lt;br /&gt;
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[[File:Medrano_Program_Cover_1938.jpg|thumb|right|300px|Prigram Cover by Jean Mercier (1938)]]Yet, the fear of a possible war with Germany was mounting, and by 1938, business had begun to suffer. The Amar brothers had left the Empire Theatre, which became an operetta theatre at the beginning of 1939. After the disappointing tour of his brother-in-law Grock, Dante Ospiri, Medrano’s booking agent, left the circus and was replaced by Emile Audiffred and Félix Marouani, who ran a well-known talent agency (and represented Jérôme’s friend, Maurice Chevalier). To renew the audience’s interest without investing too much money, Recordier came with the idea of another comic pantomime for Rhum, ''On a enlevé la Femme à Barbe'' (&amp;quot;The Bearded Lady has been abducted”). It was a huge success.&lt;br /&gt;
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In November 1938, Jérôme attended the Jubilee of Berlin’s WinterGarten, where he had the dubious privilege of being introduced to Adolph Hitler. The following month, the Fratellinis were back to Medrano, and in January 1939, Jérôme experimented by introducing to the ring the The Peter Sisters, a trio of heavy-set Black American jazz singers and tap dancers, whom he had discovered in the United States: They obtained a triumph. (They would return after the War, and eventually settle in Paris.) &lt;br /&gt;
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They were followed by a circus operetta written by Emile Recordier with music by Vincent Scotto (1876-1952), ''Le Fils de Buffalo-Bill'' (&amp;quot;Buffalo Bill’s Son&amp;quot;). It had the largest cast ever seen at Medrano: 105 artists, including a crowd of extras and the 16 Helena Stars, a troupe of English showgirls. All these, plus a great number of props that included a full Western train crossing the ring, must have made the already confined dressing rooms and backstage area of Medrano more cramped than ever. In spite of the presence of the upcoming singer (and former Olympian) Clément Duhour, the success was only mediocre.  &lt;br /&gt;
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In May 1939, Félix Vitry replaced Jean Coupan as Medrano’s ''Secrétaire Général''. Vitry would eventually run his own publicity agency, but he took care of Medrano's marketing and public relations until 1958. Meanwhile, Jérôme sailed back to the United States and met with Zeppo Marx, the brother of Groucho, Chico and Harpo Marx, in Los Angeles. Zeppo ran a major talent agency in Hollywood and represented the Marx Brothers; they discussed a possible engagement of the celebrated comic trio, but the brothers were reluctant, and the situation in Europe certainly didn’t stir up their interest. &lt;br /&gt;
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While in Hollywood, Jérôme also met with Stan Laurel to sign him and his partner, Oliver Hardy; Laurel showed interest, but the negotiations were left pending for the same, now unavoidable reasons: The European situation made them hesitant to sign a contract in France. Jérôme eventually managed to sign the former Hollywood cowboy star [[Tom Mix]], who had extensive circus credentials (including as circus owner), but it was a bitter-sweet victory: Germany invaded Poland on September 1, 1939, immediately prompting Great Britain, France and their European allies to declare war on Germany. World War II had started, and Tom Mix’s contract was nullified.&lt;br /&gt;
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===The War Years===&lt;br /&gt;
Jérôme Medrano was mobilized one week later. To avoid the closure of his circus, he sublet it to Audiffred and Marouani, who took over its management. However, in May 1940, the Germans began their invasion of France, and Medrano closed its doors. On June 14, 1940 they occupied Paris. In this tragic atmosphere, the death of Paul Fratellini, on June 18, went completely unnoticed. Félix Marouani, who was Jewish, had already taken refuge in the South of France, which was not occupied, but Emile Audiffred also chose to leave Paris. The Saint family, worried to see the circus without supervision, finally agreed to sell their property. Jérôme being unavailable, the Saints began contacting potential buyers among the French circus community.&lt;br /&gt;
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[[File:Medrano-Busch_Program.jpeg|thumb|300px|left|Program Cover by Cello for Medrano-Busch]]On November 15, 1940, the Propagandastaffel (the German propaganda service in Nazi-occupied France) gave the Parisian circuses’ management to [[Circus Busch|Paula Busch]], who placed her son-in-law, [[Emil Wacker]], at the helm of Medrano. Then Paula Busch took over the Cirque d’Hiver in December. It was, to the Nazis, a propaganda coup with which they expected to help build in Paris a positive image of the German occupiers. It misfired and lasted only the three-month trial period scheduled by the Propagandastaffel: Parisians didn’t consider watching German acts in the company of Wehrmacht soldiers to be their idea of good circus entertainment.&lt;br /&gt;
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Finally demobilized, Jérôme Medrano rushed back to Paris to check on his circus (which was still under Busch management) and immediately signed a new nine-year renewable lease with Roger Saint, whose family still owned the building. Unfortunately, its impending sale was announced at a very bad time for Jérôme, who was not in a position to buy: His divorce from Rachel Baquet had turned into a convoluted and lengthy litigation. Since his wife had been nominally co-director of the Medrano circuses, the divorce was not only a personal separation but also a professional (and financial) parting. As a result, Jérôme was buried in complex and expensive legal proceedings, which the war and the German Occupation had not made easier. &lt;br /&gt;
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At that point, Jérôme was living with Denise Baillard (1915-1964), a former dancer with the Bluebell Girls. To protect himself and his circus from possible financial and legal problems resulting from his divorce, he created a new company, S.E.S.V. (Société d’Exploitation de Spectacles de Variétés) whose principal was Denise, and to which he transferred the circus’s lease and other assets that were on his name. On August 18, 1941, Denise gave birth to Jérôme’s first child, Daniel. Then the new family traveled to the Free Zone in the South of France, where they had rented a villa at Saint-Jean Cap Ferrat. Marcelle Roulet, Denise’s sister, was put in charge of the Parisian circus’s administration. Jérôme returned to Paris only when business called him. &lt;br /&gt;
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Jérôme Medrano had reopened his circus on April 11, 1941 with a show headlined by a host of well-known clowns: [[Pipo Sosman|Pipo]] and [[Tony Sosman]], [[Alex Bugny|Alex]] &amp;amp; [[Achille Zavatta|Zavatta]] (the latter would emerge as a major clowning star after the War), Boulicot, [[Tony Bastien]], [[The Gruss Dynasty|Dédé Gruss]], and [[Little Walter, Jr.]]. In spite of the circumstances, Medrano was intent on remaining a joyous circus. Its new slogan was &amp;quot;Allez rire à Medrano&amp;quot; (&amp;quot;Go and laugh to Medrano&amp;quot;). It was not easy, however, to find good circus acts to work in Paris during the German Occupation: The Nazis were bleeding France’s economy, and the French currency was a highly devaluated version of the Deutschmark. Jérôme had to resort to hiring popular French singers, comedians, and actors to fill the void and maintain attractive programs.&lt;br /&gt;
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In 1941, the actor and comedian (and future producer of the long-running French Television show, ''La Piste aux Étoiles'') [[Gilles Margaritis]] had produced a hilarious variety show at the ABC Theatre in Paris, ''Les Chesterfollies'', which had been extremely successful. Margaritis had toured the international variety circuit with his friend, Roger Caccia, performing a comic musical act named [[The Chesterfields]] (in which no music was ever played); ''Les Chesterfollies'' was true to Margaritis’s particular sense of humor, a paean to absurdist and unbridled comedy in the style of the 1938 hit Broadway musical, ''Hellzapoppin''. &lt;br /&gt;
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[[File:Violette_Schmidt_(1952).jpeg|thumb|right|450px|Violette Schmidt (1952)]]Margaritis, who loved the circus, had used several well-known clowns and circus acts in his show, and Jérôme asked him to create a new version of his ''Chesterfollies'' for Medrano. ''Les Chesterfollies 43'' opened in January 1943, and was a huge success that remained four months on the bill. The show saw the Medrano debut of sixteen-year-old acrobatic dancer [[Violette Medrano|Violette Schmidt]] (1926-2018)&amp;amp;mdash;who will play an important role in Jérôme’s life and in Medrano’s history.&lt;br /&gt;
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The 1942-43 season had been a good one, and to add to the expected celebratory mood, on September 5, 1943, Denise Baillard had given birth to Jérôme’s second son, Patrick. But all was not well in Jérôme Medrano’s world: At the end of the year (1943), the Saint family finally auctioned off their circus property. The wealthy Bougliones, tenants of the Cirque d’Hiver, bid against the brothers Amar and [[Charles Spiessert]] (owner of the [[Cirque Pinder]]); as a final argument, the Bougliones produced the bags of gold they had brought in the trunk of their car and offered to pay cash: They won the prize&amp;amp;mdash;and then and there became the new owners of the circus building and its land. Jérôme Medrano, who still had seven years on his lease, was now the tenant of his competition. However, he was nowhere to be seen: By then, he had joined the French Resistance. &lt;br /&gt;
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In February 1944, Medrano presented ''Les Chesterfollies 44'', which had only a mediocre success: It came too soon on the heels of the previous edition, and Parisians had now something else to give them solace: The Allied Forces had landed in Italy. Nonetheless, ''Les Chesterfollies'' remained on the bill for some time, since the political situation had become too volatile to plan anything in the long term. In April, Jérôme’s divorce from Rachel Baquet was at long last finalized. On June 6, the Allied Forces debarked in Normandy. On August 25, the Free French Forces liberated Paris. Jérôme Medrano resurfaced under the U.S. Army’s uniform: He had been a Liaison Officer between the U.S. Army and the Free French Forces. On May 8, 1945, Germany surrendered and World War II was officially over.&lt;br /&gt;
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===The Post-War Era: The Floor Show===&lt;br /&gt;
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When Medrano reopened for the 1944-45 Season, the printed program was bilingual, in English and French, to attract the American and English forces stationed in Paris. It listed Jérôme Medrano as Artisitic Director and Marcelle Roulet as Business Manager. Rocordier was still the show host, and the delightful auguste Loriot had replaced Boulicot. The programs were not anymore relying on performers from other fields: More acts were now available, although international acts were still difficult to attract. Pipo Sosman and Rhum were the clown stars of the season. &lt;br /&gt;
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[[File:The_Craddocks_-_Medrano.jpeg|thumb|left|300px|The Craddocks (1951)]]Then, in April 1945, Jérôme Medrano and Denise Baillard were married in Boulogne-Billancourt, a Paris suburb where they lived (and where the circus had its warehouse). On the wedding certificate, Denise was described as &amp;quot;company manager,&amp;quot; and Jérôme as &amp;quot;industrialist.&amp;quot; Jérôme was now preparing his first true post-war season; he, Denise and their children spent the summer in their villa at Saint-Jean Cap Ferrat, and the circus re-opened in September 1945 announcing a circus more in sync with the times, which, if not truly different from what Jérôme had already tried to do before the war, ushered a new era for Medrano.&lt;br /&gt;
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The show embraced wholeheartedly what Medrano had attempted earlier with the Peter Sisters: a mixture of pure circus and varieties. The first half of the show featured ten traditional circus acts, the clowns [[Nino]] &amp;amp; [[Emile Coryn|Mimile]] (soon to be put in friendly competition with [[Louis Maïss|Maïss]] and the very popular [[Béby Frediani|Béby]]), and featured the sensational debut of [[Rose Gold]], in a superb solo trapeze act unanimously praised by the press&amp;amp;mdash;and which prefigured the legendary [[Rose Gold Trio]], whose world debut occurred in November at Medrano. Recordier &amp;amp; Loriot took care of the transitions with the additional help of a troupe of augustes. &lt;br /&gt;
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During intermission, the ring was covered with a wooden floor, and although the acts selected for the second half were still, for the most part, circus acts, their style was more suited for varieties, cabarets and nightclubs, and a special Master of Ceremonies introduced them. Jérôme called it the ''Floor Show''. The first ''Floor Show'' starred The [[Les Craddocks|Craddocks]], the celebrated comedy tumbling act of François Fratellini’s sons (the future clowns Kiko, Popaul &amp;amp; Baba Fratellini), which had been featured in variety theatres and nightclubs all over the world.  The famous dancer-singer-musician Maria Valente, a huge star of the variety stage before the war, was featured in the December production, and eighteen-year-old Violette Schmidt returned to Medrano in January. &lt;br /&gt;
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Inevitably, circus purists criticized Jérôme Medrano, but his new formula&amp;amp;mdash;which was widely talked about by the Press&amp;amp;mdash;had two possible advantages: Firstly, it distinguished Medrano from the more traditional Cirque d’Hiver, whose large annexes allowed the use of many animals from the Bougliones’ rich menagerie, and which was better equipped for the production of spectacular pantomimes&amp;amp;mdash;its specialty; secondly, it could once again bring to Medrano a fresh, younger urban audience, which might have not patronized a more traditional circus. &lt;br /&gt;
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Yet, in the long run, the ''Floor-Show'' didn’t make much sense: it still presented, after all, circus acts, even if they had a more contemporary flavor. However, the so-called &amp;quot;circus&amp;quot; part (as opposed to the &amp;quot;Floor Show&amp;quot;), included sometimes the most successful acts, or was the realm of the audience’s true favorites, such as the clowns Maïss &amp;amp; Béby. In January 1947, Medrano reverted to traditional circus programs without a marked difference between the first and the second halves of the show.&lt;br /&gt;
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===To America And Back===&lt;br /&gt;
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At the beginning of the 1946-47 Season, Jérôme had put together an efficient administrative team at the helm of his circus, with his sister-in-law Marcelle Roulet as General Manager, her husband Maurice Roulet as Administrative Manager, the former cat trainer [[Joseph Trubka]] as ''Régisseur'', Félix Vitry in charge of marketing and publicity, and, in a less alluring but not inconsequential position, Paulette Decaplane, Denise Medrano’s other sister, took care of the bar and concessions. Medrano was once more a family affair. With his team in place, Jérôme, Denise and their children sailed to New York in December, and then moved to California, where they settled in Westwood, Los Angeles.&lt;br /&gt;
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To the American entertainment press, Jérôme said that he had come to America to scout fresh talent for his circus. In reality, his reasons were more personal&amp;amp;mdash;related to the uncertain future of his Parisian circus and, consequently, his. Yet he did actually scout for talent while in America. In September 1947, the first show of Medrano’s 50th Anniversary Season (1947-48), was headlined by the legendary Hollywood comedian [[Buster Keaton]]. Keaton had reached the nadir of his Hollywood career at M-G-M with a dreadful series of B-movies co-starring the comedian Jimmy Durante, and after a bout with depression and alcoholism, he had returned to the variety stage with his new wife, Eleanor. Jérôme, who had just lost Laurel &amp;amp; Hardy to the new Lido of Paris (where they didn’t fare well), immediately signed him.&lt;br /&gt;
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[[File:Buster_Keaton_-_Medrano_47.jpeg|thumb|right|380px|Buster Keaton and Friends at Medrano's backstage bar (1947)]]Buster Keaton’s appearance was a huge hit; his Parisian engagement actually revived interest in his silent films, which were unearthed for the occasion by the French ''Cinémathèque'', and whose screenings became a major event for French cinema aficionados. Jérôme quickly offered him a return engagement. He had also contracted the Peter Sisters, who returned to Paris and followed Keaton in October. Another Hollywood luminary, the phenomenal tap dancer and (by then) singer Harold Nicholas, of Nicholas Brothers fame, headlined the November show. These names would have given legitimacy to the ''Floor Show'' concept, but they came a little too late. &lt;br /&gt;
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Jérôme and Denise Medrano managed their Parisian circus from afar; the family had taken roots in California, where they had purchased a large villa in Encino, California. The post-war years were a boon for circuses all over Europe, and business was going strong. In 1949, Denise and Jérôme had begun to put together an all-American revue, which would be titled ''Hollywood Rhythm Extravaganza'', and Jérôme returned to Paris in November 1950 to prepare a European tour for the show. Another reason for his return was the signing of a four-year extension of his lease (which should have expired at the end of the year), obtained by his lawyers to compensate for his war-years’ losses. &lt;br /&gt;
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In Paris, Jérôme realized that he had conceived his Hollywood extravaganza on an American scale, much too large for his circus: It had to be seriously re-tailored into a lighter version to be manageable and profitable at home and on tour. There were also problems with parts of the scenic equipment ordered in advance in France that was not ready in time, and others that just didn’t work. After several delays, the show opened anyway in January 1951; if the French audience didn’t warm up to the American comic Jérôme had brought with him, they certainly appreciated the legendary one-legged tap dancer Peg-Leg Bates, who was the true revelation of the show, and the imposing thirty-six-girl chorus line. &lt;br /&gt;
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Yet the show, which was mostly a traditional American variety revue, didn’t jell, and it failed to attract Parisians to the circus. The show was modified with a more &amp;quot;circus&amp;quot; feel, and renamed ''Hollywood Follies''. Among the European artists hired to complete the line-up of circus acts were The Craddocks and the Rose Gold Trio, who made a strong impact. In all, Jérôme Medrano’s American production managed to run for five months, but the show never really took off. It was presented afterwards at the Théâtre des Variétés in Brussels, and died there. It was indeed a disappointment for Jérôme. His name, however, had never appeared anywhere in connection with the production: It was produced by a Jerry E. Mordan, which was an Americanized anagram Jérôme had adopted for the occasion…&lt;br /&gt;
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Nonetheless, Jérôme Medrano began casting his 1951-52 season. Among other acts, he re-booked one of his favorite performers, the acrobatic dancer Violette Schmidt. Violette was now 23 years old, a beautiful woman, and Jérôme had fallen heels-over-head for her when she came unexpectedly to see a show at the circus. They soon began a very conspicuous affair, which was not to the liking of Jérôme’s General Manager and sister-in-law, Marcelle Roulet.  Marcelle informed her sister, Denise Medrano, and had a falling-out with Jérôme. It was once again a poisonous family situation that affected the circus. Jérôme reacted swiftly, as usual: he fired the Roulets and took back the full management of his circus. And, as he would admit much later in an interview, he &amp;quot;forgot&amp;quot; his family in America…&lt;br /&gt;
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===The Early Fifties===&lt;br /&gt;
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Jérôme Medrano put together a new managerial team, with Léon Marchoux as General Manager and Marcel Hauriac as ''Secrétaire Général'', two well known figures in the circus and variety world. Josef Trubka kept his position as ''Régisseur Général'', and marketing and advertising was still in the hands of Félix Vitry, who had created his own advertising and publicity agency. The talented Germaine Mordant (1911-1968), an old friend of Jérôme’s who came to Medrano in 1947, remained the music conductor&amp;amp;mdash;the only woman ever to hold this position in a circus. A new, very promising ringmaster/host, [[Jean Dréna]], joined the group: He would soon become an iconic presence in Medrano’s ring. The Parisian press was elated by the return of Jérôme Medrano, and saluted the event as a possible &amp;quot;rebirth&amp;quot; of the Cirque Medrano of yore. &lt;br /&gt;
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[[File:Drena_et_Loriot.jpg|thumb|left|450px|Jean Dréna &amp;amp; Loriot]]They were not disappointed: the 1951-52 Season is still regarded today as one of the best seasons ever put together by the Parisian circus. Jérôme offered fourteen shows with a cornucopia of some of the best acts in the business, including the return of old favorites and the debuts of acts that had never been seen in Paris. Among the favorites was the Dutch high-school equestrian [[Otto Schumann]], whose success was such that his contract had to be extended twice. [[The Charlivels]], Violette Schmidt, the singer acrobat [[Gino Donati]], the high wire troupe of [[Bob Gerry]], the young hand-balancer prodige [[Little John]], the extremely talented tiger and lion trainer [[Vojtech Trubka]] were among the many hits of that season&amp;amp;mdash;which also saw the revival of the ''Club des Amis de Medrano''.&lt;br /&gt;
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The clowns had indeed a place of choice in these shows, which critics praised as the &amp;quot;rebirth of true circus&amp;quot;: Boulicot, Loriot, and the American auguste [[Billy Beck]] kept the show moving at Jean Dréna’s side, and [[Nino]] &amp;amp; [[Charly]], Rhum, [[Polo Rivel]] and his children, Pipo &amp;amp; Béby (teamed up by Jérôme, who had a knack of pairing clowns), and the new [[Les Bario|Barios]] delivered the entrées that kept the audience laughing. Jérôme also organized a Clown Tournament that revealed a few newcomers who would soon make a name for themselves, such as [[Bocky et Randel|Bocky]] and [[Bob et Momo|Bob]]. Additionally, in January 1952, Grock returned to Medrano for the first time since WWII: Many European directors had shunned him for having performed in Nazi Germany during the conflict. This was to be Grock’s last appearance in Paris. He was seventy-two; he would die seven years later, after a mildly successful &amp;quot;farewell&amp;quot; European tour with a circus bearing his name. &lt;br /&gt;
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Jérôme Medrano was now firmly in charge of his circus&amp;amp;mdash;if not of his personal life. In September 1951, Denise Medrano had returned to Paris with her children in a last-ditch effort to save her marriage. It didn’t work. A divorce procedure was set in motion, which was as complex as the previous one because of the same intrusion of business matters into Jérôme’s personal affairs. Nonetheless, at the end of the very successful 1951-52 Season, Jérôme Medrano and Violette Schmidt, now a bona-fide couple, went on a prospecting tour (also &amp;quot;to take some fresh air&amp;quot; as Jérôme described the trip) of the United States, Canada and Mexico. &lt;br /&gt;
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In October 1952, Buster Keaton was back at Medrano, and met with his usual success. Yet he was not the only successful clown that season: In March 1953, the famous playwright, filmmaker, director and actor Sacha Guitry (1885-1957) wrote in a French magazine a dithyramb on Rhum, whom he had just seen on television in a sketch the great auguste had performed at Medrano. In it, Guitry placed Rhum above every known comic, including Charlie Chaplin. Rhum’s sketch was mute: He was dying of a throat cancer. He sadly passed away that same year, in October, to the immense chagrin of his many admirers and colleagues. The brilliant Rhum would never grace again Medrano’s magic ring, but Buster Keaton returned there one last time, in January of 1954.&lt;br /&gt;
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Meanwhile, on September 16, 1953, Medrano hosted the first broadcast of a circus television show conceived by Gilles Margaritis, which had not yet found its name, but will become [[''La Piste aux Etoiles'']], one of the French television's longest-running show. ''La Piste aux Etoiles'' will be shot intermittently at Medrano, and regularly starting in 1959, but only for a short time: Jérôme's proprietors, the Bouglione family, forbade Medrano to be used for anything else than pure circus performances, which implied that the circus couldn't be used as a television studio. This interdiction was part of the Bougliones' attempts to discourage Jérôme; in 1960, the show found a new home at the Cirque d'Hiver.&lt;br /&gt;
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Also in 1953, Jérôme had produced a show under the Medrano banner at the ''Palais des Sports'' of Liège, in Belgium, with the animals of the German [[Circus Williams]] presented by [[The Althoff Dynasty|Adolf Althoff]], Carola Williams’s brother. During the spring-summer season of 1954, he launched a traveling ''Grand Cirque Russe'' in association with the [[Cirque Beautour]]. This was part of a flurry of upcoming extra-Parisian circus activity that kept Jérôme busy at that period. He sensed perhaps that he had to reinvent himself: The year 1954 was to be the last of Medrano’s extended original lease. Nonetheless, during the summer of 1953, he refurbished his circus, adding stairs leading to the orchestra platform on each side of the ring entrance, and suppressing in the process seats notorious for their bad sightline.&lt;br /&gt;
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===The Survival Years===&lt;br /&gt;
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During the 1953/54 Season, Jérôme explored the various legal options at his disposal to retain control of his circus&amp;amp;mdash;which the Bougliones were eager to take away from him&amp;amp;mdash;and 1955 saw the beginning of legal wranglings that would last eight long years. Not everything was bad however: On November 24, 1954, Violette Schmidt had given birth to their daughter, Françoise. Although Jérôme’s divorce procedure with Denise was still ongoing, he was intent on marrying Violette and immediately recognized their first child. A first judgement of divorce was pronounced in June 1955, but it wouldn’t be finalized until 1958. In the spring of 1955, Violette announced she was expecting a second child, Jérôme III, who was born February 22, 1956. Denise returned to the United States with her children in the summer of 1956; she had been awarded the Medranos’ American properties.&lt;br /&gt;
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[[File:Zavattarzan.jpeg|thumb|450px|right|Achille Zavatta backstage  as &amp;quot;Zavattarzan&amp;quot; (1956)]]In 1955, Jérôme made a deal with the [[The Gruss Dynasty|Cirque Gruss-Jeannet]], which was ending its long association with Radio Luxembourg, under the patronage of which it had toured as the very successful [[Radio-Circus]]; they launched together a new Medrano &amp;quot;voyageur&amp;quot; under which colors Gruss-Jeannet toured in 1956. Yet, at the same time, the brothers [[The Gruss Dynasty|Gruss]] and [[Lucien Jeannet]] struck a potentially more rewarding bargain with the very popular actor and comedian [[Jean Richard]] (a longtime amateur cat trainer and owner of a private zoo) to tour as the [[Cirque Jean Richard]] in 1957 and&amp;amp;mdash;most importantly&amp;amp;mdash;with him as its star. Jean Richard had been featured at Medrano in December 1955, where the comedian had presented [[Circus Knie]]’s group of African elephants: Jérôme saw the association of Jean Richard and Gruss-Jeannet as a double betrayal.&lt;br /&gt;
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In spite of his precarious situation, Jérôme Medrano continued to present excellent and often innovative programs on the Boulevard de Rochechouart. For the 1955-1956 season, the clown star was [[Achille Zavatta]]. Zavatta had become France’s most popular auguste thanks to his frequent appearances on Margaritis’s hit television show, ''[[La Piste aux Étoiles]]''. in December 1955-January 1956, for the Holiday season, Medrano saw the return of the the great tiger trainer [[Gilbert Houcke]]. Houcke, a genuine circus star, preempted Zavatta as the headliner of the show, which he ended&amp;amp;mdash;in a true star position rarely given to a cage act. But indeed, Houcke's name alone sold tickets! &lt;br /&gt;
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Then Gilles Margaritis returned with a brand new edition of his ''Chesterfollies'', entirely built around the season's star, Achille Zavatta. For this production, Zavatta displayed the full range of his many circus talents, from bareback riding to a comedy act with a group of lions, which he presented as ''Zavattarzan'' and in which he hilariously lost his wig in the mouth of a lioness after having put his head in her mouth. The production was a huge success. &lt;br /&gt;
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In September 1956, the [[Fövárosi Nägycircusz]] of Budapest opened the 1956-57 season, and remained successfully on the bill until the end of October&amp;amp;mdash;at which time the Hungarian insurrection began and the Soviet troops entered Budapest: What was a normal engagement suddenly became an event of political significance! In November, Medrano hosted the German [[Circus Williams]]&amp;amp;mdash;albeit without its young star, [[Gunther Gebel-Williams]]: His group of 11 elephants was much too large for Medrano’s cramped quarters. In December, Jérôme helped produce the ''Grand Cirque 57'' at Paris’s Palais des Sports, a huge American-style circus spectacular on three rings and two stages; he had also two Christmas shows running at the same time in large arenas in Marseille and Lyon, in addition to Medrano’s Christmas program.&lt;br /&gt;
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In March 1957, the extremely popular French comedian Fernand Raynaud (1926-1973) was the star of the show. Raynaud’s humor was mostly spoken, but he was also an excellent mime, and some of his sketches were very visual: He was not awkward in a circus ring. His turn, which included a parody of a ballerina on tight wire (for which Raynaud actually walked the wire) and a very good impersonation of Charlie Chaplin, won over the doubts of many critics. Then, in September, eighty-year-old Albert Fratellini, the last surviving member of the fabled trio, began at Medrano what would be his last circus season.&lt;br /&gt;
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The 1957-58 Season saw major changes at Medrano. Jean Laporte (1908-1997), a legendary circus bandleader who had succeeded Germaine Mordant in 1953 at the helm of Medrano’s orchestra, left for the [[Grand Cirque de France]] (Gruss-Jeannet) and was replaced by Hubert Dewaele. In September 1958, Marcellys (Marcel Ballester), a former singer turned clown and ringmaster, who had been featured as a straight man for Achille Zavatta in ''Les Chesterfollies 56'', replaced Jean Dréna&amp;amp;mdash;who had retired to the lament of Medrano’s habitués&amp;amp;mdash;as Medrano’s host/ringmaster. Félix Vitry also left to take the management of the legendary Bobino Music-Hall, and Jacques Prély, a former singer and lyricist, became Medrano’s ''Régisseur Général'', a position he will keep until the end. &lt;br /&gt;
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Two of Medrano’s old pillars, the augustes Boulicot and Béby passed away in 1958, but a new generation of very talented clowns was ready: Achille Zavatta, the Barios (who spent the 1956-57 Season at Medrano), the [[Los Rudi-Llata|Rudi-Llatas]], and [[Kiko, Popol et Baba Fratellini]] (the former Craddocks and the sons of François Fratellini), who made their Parisian clown debut at Medrano in February 1958. Others would come.&lt;br /&gt;
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===Swan Song===&lt;br /&gt;
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On January 6, 1958, the divorce of Jérôme Medrano and Denise Baillard was at long last finalized. On April 28, Jérôme married Amélie Violette Schmidt at the 9th Arrondissement’s City-Hall in Paris. Violette Medrano would take an important role in the running of the circus, both administratively and artistically, in the last four years of its life. Meanwhile, Jérôme kept his circus well alive and continued to present a string of first-rate programs, in spite of the fact that he couldn’t secure acts very far in advance: He was under the constant threat of having to surrender his circus whenever his arsenal of legal bickering would run out.&lt;br /&gt;
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In September 1958, Medrano offered a spectacle titled ''Bravissimo'', conceived by Jacques Prély. It was an Italian-themed musical extravaganza featuring the Doriss Girls (the famous dancers of the neighboring Moulin-Rouge cabaret) and several good acts, but which was plagued with technical problems and never jelled. It lasted only four weeks. Following this debacle, comedy and humor became Medrano’s main fare in 1958 and 1959, with a cornucopia of clowns, some remaining on the bill for several months in a row&amp;amp;mdash;among whom Albert Fratellini, Loriot, [[Gin]], [[The Andreu-Rivels]], [[The Sikis]], [[The Steckels]], the comedian Chrisitian Duvaleix (an old pillar of ''Les Chesterfollies''), [[Bocky et Randel]], Kiko, Popol &amp;amp; Baba Fratellini, [[Don Saunders]], The Barios, Maïss &amp;amp; [[Pastis]], and [[Lulu et Tonio]]. &lt;br /&gt;
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[[File:Corry_Vermeeren.jpeg|thumb|400px|left|Corry Vermeeren on ice, in the new cage (1960)]]There were also several acts of first magnitude: The hand-balancer Little John, [[Philippe Gruss]] and his leopards (and horses),  [[Maryse Bégary]] on the trapeze, [[Dany Renz]] in his famous jockey act, ''Robin Hood'', and the legendary Spanish star of the Washington trapeze, [[Pinito Del Oro]], among many others. Medrano was still Medrano. Yet, in February of 1959, following the advice of his lawyers, Jérôme created a new corporate entity for the exploitation of his circus&amp;amp;mdash;in all probability to generate new legal hurdles for the Bougliones and continue to stall a situation whose obvious conclusion was unfortunately inexorable. When the 1959-60 Season began in September, Violette Medrano was conspicuously listed on the program as the circus’s sole Director. (She was also the Director of the new corporation.) Although he was still in actuality at the artistic helm of his circus, Jérôme remained in the shadows.&lt;br /&gt;
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Yet Violette’s personal touch could be felt: The overall style of Medrano was modernized and refreshed, notably with usherettes in elegant and colorful dresses instead of circus uniforms, and the use of air freshener in the corridors and the bar to mask the smell of the menagerie. (The latter innovation was strongly criticized by hardcore circus fans!) Marcellys took over the orchestra, in addition to his role as host. Violette also conceived the idea of an already built-up steel arena coming down from the cupola for the cage acts. This was a good innovation, although it couldn’t be used in conjunction with major aerial acts, such as flying trapeze and high wire, and thus influenced to some extent the composition of the programs (either big aerial act or cage act, but not both). Covered with fabric, it also served as a ring curtain in a few productions.&lt;br /&gt;
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In May 1960, the season ended with an interesting show titled ''Cavalcade sur Glace 60''. It was entirely performed on ice, including [[Erie Klant]]'s polar-bear act presented [[Corry Vermeeren]], [[The Fratellini Family|Stella Fratellini]] and her chimpanzee Georgie, and, most amazingly, the high school act of [[Elvira Vonderp]]. The featured star of the show was the former French champion ice-skater Raymonde Du Bief, but its true stars were the Barios, who had spent most of the 1959-60 Season at Medrano, and were at the height of their creative and comedic talents. They performed wonderful original entrées (on skates, like everyone else in the show), and gave the production its soul as well as its laughs.&lt;br /&gt;
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For the 1960-61 Holiday Season, Medrano presented ''Rêve de Clown'', a show built around the legendary clown [[Charlie Rivel]], who had not been seen in Paris since WWII. Unless Grock, Charlie Rivel had built over the years a rich repertoire, and had been able to adapt it to his age and to the times. Some of his work in that show was new to Parisian audiences, and Rivel obtained a huge success. The 1961-62 Season saw a new orchestra conductor, the Belgian composer and sometime actor V. O. Ursmar (Ursmar van Oosterwijck), who would be the last of a line of remarkable conductors leading Medrano’s orchestra. Marcellys had gone to the [[Cirque Pinder]], and the new host was Jacques Demarny, a former actor, singer and prolific author of popular songs. The season was rich in great acts, and Achille Zavatta was its star all winter long; it was hard to imagine that it was Medrano’s last full season.&lt;br /&gt;
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===The End===&lt;br /&gt;
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[[File:Medrano_Farewell.jpg|thumb|right|400px|The Farewell, January 7, 1963]]There were signs however: The following summer season, never really strong in terms of acts, was exceptionally weak. Yet, when the 1962-63 Season started in earnest, the program was again remarkable, with the heavily advertised [[Yves de la Cour]]’s equestrienne protégée, [[Lilo]], in a sensual and scantily-clad high-school act, the [[Jarz Family|Jarz]], one the best flying trapeze acts of the Italian school, the legendary somersaulter [[Atilina Segura]] on the tight wire, the [[Tovarich Troupe|Tovarich]] family of equilibrists, [[André Danion]]’s sea lions, and the brilliant clowns Rudi-Llata, among others. &lt;br /&gt;
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The Holiday program featured [[Philippe Gruss]] with his leopards and the Gruss-Jeannet horses and elephants, the Spanish clowns [[Los Álava]] and the [[Paco Perez Trio]], the amazing [[The Aratas|Billy, Vittorio and Anna Arata]] on the tight wire, the Japanese acrobats [[The Akimotos|Akimoto]], the chimpanzees of [[Klaus Kroplin]], [[Miss Chabre]] and her dogs, the American crossbow-shooting act of [[Bob Markworth and Mayana]], the famous Spanish aerialist [[Alma Piaïa]] (who was then past her prime), and two lesser-known acts, [[The Trampowers]] on the trampoline, and the hand-to-hand balancers [[Les Francesco|Francescos]]. Albeit not of the quality of the previous one, it was still a very commendable program: By then, incertitude forced Jérôme to sign his performers’ contracts at the last minute. Sadly, these artists were to be part of Medrano’s very last production.&lt;br /&gt;
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On December 15, 1962, during the Saturday matinee, the Bouglione family entered the circus and took at long last possession of their property. Three weeks later, on January 7, 1963, at the end of the last performance of their last program, Jérôme and Violette Medrano stepped into Medrano’s legendary ring to a prolonged ovation, and bade their heartbroken audience farewell. The Parisian clowns who had graced Medrano’s &amp;quot;magic circle&amp;quot; over the years accompanied them, led by Kiko, Popol and Baba Fratellini, who had spent their childhood with Jérôme in what would become his circus. When, late in the evening, the lights finally went off, Medrano, ''&amp;quot;Le Cirque de Paris&amp;quot;'', had ceased to exist.&lt;br /&gt;
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==Epilogue==&lt;br /&gt;
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===Le Cirque de Montmartre===&lt;br /&gt;
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Jérôme and Violette Medrano remained in their apartment in the circus for a few weeks, while the Bougliones renovated the circus to their needs; a not so good renovation was to have the Barbier-Daumont’s frescoes at the periphery of the house &amp;quot;refreshed&amp;quot; by an advertising painter, who transformed them into cartoon-like illustrations. Once their affairs in order, the Medranos moved to Monaco, where they settled in a rented apartment. &lt;br /&gt;
&lt;br /&gt;
[[File:Hermanos_Clowns.jpeg|left|300px|Poster for The Hermanos at the Cirque de Montmartre (1968)]]The Bouglione Juniors (Firmin, Sampion, Émilien, and Joseph) took over the management of the circus, which was renamed ''Cirque de Montmartre''. Since they were also running the mighty Bouglione traveling circus (their father, Joseph Bouglione, and their uncle Firmin were running the Cirque d’Hiver), they put together very short winter seasons. In addition, they performed only three days a week, Wednesday, Saturday, and Sunday, and on Holidays. &lt;br /&gt;
&lt;br /&gt;
They had commendable shows, certainly more energetic and less sedate than what the Cirque d’Hiver, now free of any serious competition, was showing by then. The Cirque de Montmartre often headlined the Barios (the famous clowns created their hilarious parody of ''Cleopatra'' there), but somehow the special magic of the old Medrano was gone. The atmosphere was not the same: Gone was the sophisticated lighting, the special intimacy created by hosts such as Jean Dréna and Medrano’s house augustes, and gone, too, were the surprises, the unexpected novelties. The style was too close to that of the Cirque d’Hiver, and in spite of the Juniors’ best efforts, the Cirque de Montmartre just looked like its annex.  &lt;br /&gt;
&lt;br /&gt;
Off-season, the Cirque de Montmartre hosted extra-curricular events. In 1966, Colette Renard, a popular French chanteuse, starred in a musical spectacular, ''Jehanne Vérité'', about Joan of Arc. In 1967 and 1968, the circus was rented out to Ariane Mnouchkine’s ''Théâtre du Du Soleil'', which presented productions &amp;quot;in the round&amp;quot; of Shakespeare’s ''A Midsummer Night’s Dream'', and Arnold Wesker’s ''La Cuisine'' (&amp;quot;The Kitchen&amp;quot;). In terms of circus, however, the Cirque de Montmartre remains but a footnote in the glorious history of the legendary house of the Boulevard de Rochechouart. Even the name &amp;quot;Cirque de Montmartre&amp;quot; didn’t stick: it was still referred to as Medrano&amp;amp;mdash;as it still is to this day. &lt;br /&gt;
&lt;br /&gt;
The Cirque de Montmartre gave its last performance on January 8, 1971, in an atmosphere of general indifference. The building was eventually rented out to a permanent ''Fête de la Bière'' (Beer Feast), to the dismay of circus aficionados and old Medrano’s habitués. And then, it was simply forgotten&amp;amp;mdash;until December 1973: At the end of the month, startled passersby noticed that workers had begun demolishing it. In January 1974, the building would have been 100 years old, and thus would have been automatically added to the ''Inventaire des Sites'' (the national inventory of potential landmarks): It could have prevented its demolition, since there would have been an inquiry regarding the building’s historical significance. The Bougliones, who wanted to cash in on their idle property, couldn’t waste any time.&lt;br /&gt;
&lt;br /&gt;
The move provoked a public outrage, further fueled by the previous demolition of the historic ''Théâtre de l’Ambigu'', one of Paris’s oldest theatres, and, at the beginning of the year, the ''Gaumont Palace'', Europe’s largest movie house (whose walls actually encased the structure of the old [[Hippodrome de la Place Clichy]]). This would eventually lead the City of Paris, when it finally got an elected Mayor in 1977, to automatically place its historic theatres under protection&amp;amp;mdash;but, sadly, it was much too late. Today, a particularly unattractive apartment building named ''Le Bouglione'' occupies the site; a plaque, unveiled on the building in October 2012, reminds passersby that the Cirque Fernando, later Medrano, later Cirque de Montmartre, once stood there.&lt;br /&gt;
&lt;br /&gt;
===Medrano Redux===&lt;br /&gt;
&lt;br /&gt;
The Medranos saw the painful demise of their circus from Monaco. They didn’t have much money left, and while Jérôme still toyed with circus projects (while acting on occasion as a boat salesman), Violette took a steady job in a bank. They would remain in Monaco until the end; circus enthusiasts, old circus acquaintances, and circus directors of a newer generation were happy to chat with Jérôme or Violette at the [[International Circus Festival of Monte Carlo]], which they attended every year at the invitation of Prince Rainier III of Monaco.&lt;br /&gt;
&lt;br /&gt;
But this was not the end of Medrano, the circus. On March 3, 1978, a new Cirque Medrano was launched in Saint-Germain-en-Laye, near Paris. It was Jean Richard’s last circus venture; he had made a deal with Jérôme, and the [[Nouveau Cirque Jean Richard]], which had created some confusion with Jean Richard’s other circuses, the [[Cirque Jean-Richard]] and the [[Cirque Pinder|Cirque Pinder-Jean Richard]], was renamed ''Medrano''. Managed by Alexis Gruss, Sr., it was quite successful, but lasted only three months: Jean Richard’s circus empire collapsed, and the new Medrano disappeared in its bankruptcy.&lt;br /&gt;
&lt;br /&gt;
Then, in 1987, a young circus entrepreneur, [[Raoul Gibault]], approached Jérôme Medrano; he proposed to revive the Cirque Medrano, with Jérôme’s approval and participation (in the form of a rental agreement and a consultative role), and tour it in large provincial theatres, with the show being given on stage. It was not an easy sell, but Gibault eventually got Jérôme to agree, and the new Cirque Medrano hit the road. Raoul Gibault’s original stage concept has since morphed into a full fledged tenting circus&amp;amp;mdash;and with three units and a host of Christmas shows all over the country, Raoul Gibault runs today, under the legendary Medrano banner, one of France’s largest circus organizations.&lt;br /&gt;
&lt;br /&gt;
Jérôme Medrano passed away in Monaco on November 14, 1998, in his ninety-second year. The circus world lost one of its most innovative and talented directors, a man artistically well ahead of his times, who, quite unwittingly, paved the way for the circus of the twenty-first century. Violette Medrano passed away July 23, 2018, also in her ninety-second year; she was buried alongside Jérôme and Geronimo Medrano at the Cimetière de Montmartre in Paris. Jérôme was survived by two sons from his second marriage (who live in the United States), two children from his marriage to Violette Medrano, and twelve grandchildren on both sides of the Atlantic&amp;amp;mdash;none of whom had continued in the circus.&lt;br /&gt;
&lt;br /&gt;
==Suggested Reading==&lt;br /&gt;
&lt;br /&gt;
* Gladiateur II (Edouard Cavaillon), ''Le Cirque Fernando'', (Paris, Paul Liberal et Cie, 1875)&lt;br /&gt;
* Adrian, ''Histoire illustrée des Cirques Parisiens d'hier et d'aujourd'hui'' (Bourg-la-Reine, Adrian Ed., 1957)&lt;br /&gt;
* Tristan Rémy, ''Le Cirque Fernando &amp;amp;mdash; vingt-cinq ans de cirque, 1873-1897'' (Paris, Club du Cirque, 1979)&lt;br /&gt;
* Jérôme Medrano, ''Une vie de cirque'' (Paris, Editions Arthaud, 1983) &amp;amp;mdash; ISBN 2-7003-0443-8&lt;br /&gt;
* Christian Dupavillon, ''Architectures du Cirque'' (Paris, Editions du Moniteur, 2001) &amp;amp;mdash; ISBN 2-281-19136-2&lt;br /&gt;
* Dominique Denis, ''Medrano, Saison 1951-1952'' (Aulnay-sous-Bois, Éditions Arts des 2 Mondes, 2002)&lt;br /&gt;
* Pierre-Robert Lévy, photographies de Pierre J. Dannès, ''Un soir à Medrano'' (Montgeron, Éditions Photostars, 2006) &amp;amp;mdash; ISBN 978-2-9527837-0-5&lt;br /&gt;
* Pierre J. Dannès, Jr., ''Dannès, ses photographies'' (Montgeron, Éditions Photostars, 2010) &amp;amp;mdash; ISBN 978-2-9537837-5-0&lt;br /&gt;
* Dominique Denis, ''Medrano Boum-Boum, 1897 à 1928'' (Aulnay-sous-Bois, Éditions Arts des 2 Mondes, 2012) &amp;amp;mdash; ISBN 978-2-915189-25-4&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Video: [[Buster_Keaton_Video_(1947)|Jérôme Medrano, Billy Beck, and Spider Austin about Buster Keaton at Medrano]], with a short excerpt of Keaton's ''The Duel'' (1947)&lt;br /&gt;
&lt;br /&gt;
==Image Gallery==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;Gallery&amp;gt;&lt;br /&gt;
File:Fernando-Medrano_Montmartre.jpg|Site of the Cirque Fernando/Medrano&lt;br /&gt;
File:Geronimo_Medrano_Trapeze.jpeg|Geronimo Medrano (c.1872)&lt;br /&gt;
File:Fernando_-_Blum.jpeg|''Une répétition au Cirque Fernando'' by Maurice Blum (1874)&lt;br /&gt;
File:Medrano_Cross_Section.jpeg|Gridaine's plans for the Cirque Fernando (1874)&lt;br /&gt;
File:Medrano_floor_plan.jpg|Gridaine's plans for the Cirque Fernando (1874)&lt;br /&gt;
File:Medrano_-_Maurice_Blum.jpg|Geronimo Medrano at the Cirque Fernando, by Maurice Blum (1875)&lt;br /&gt;
File:Cirque_Fernando_Poster_1875.jpg|Cirque Fernando Poster (1875)&lt;br /&gt;
File:Edmond%27s_Elephants_poster.jpeg|Poster featuring Edmonds's Elephants (1875)&lt;br /&gt;
File:Fernando-Edmonds_Elephants.jpeg|Poster featuring Edmonds's Elephants (1875)&lt;br /&gt;
File:Cirque_Fernando_1876.jpg|The Cirque Fernando by Hyppolite-Camille Delpy (1876) &lt;br /&gt;
File:Cirque_Fernando_Poster.jpeg|Cirque Fernando Poster (1876)&lt;br /&gt;
File:Miss_Lala.jpg|Lala Kaira at the Cirque Fernando by Edgar Degas (1879)&lt;br /&gt;
File:Fernando_-_Renoir.jpeg|The Wartenberg Sisters at the Cirque Fernando by Renoir (1879)&lt;br /&gt;
File:Louis_Fernando_and_Barbare.jpeg|Louis Fernando and &amp;quot;Barbare&amp;quot; (1885)&lt;br /&gt;
File:Blum_Studio.jpeg|Maurice Blum, ''The Artist's Studio'' (1885), showing ''Une répétition au Cirque Fernando'' &lt;br /&gt;
File:Geronimo_Medrano.jpg|Geronimo Medrano (c.1885)&lt;br /&gt;
File:Medrano_Faverot.jpg|Geronimo Medrano (1887)&lt;br /&gt;
File:Fernando_-_Lautrec.jpeg|Louis Fernando by Toulouse-Lautrec (1887)&lt;br /&gt;
File:Cirque_Fernando_-_Lautrec.jpeg|Equestrienne at the Cirque Fernando by Toulouse-Lautrec (1888)&lt;br /&gt;
File:Jeanne_Fernando.jpg|Jeanne Fernando (c.1890)&lt;br /&gt;
File:Fernando_A_Bride_Abattue.jpeg|''À bride abattue'' at the Cirque Fernando (1893)&lt;br /&gt;
File:Cirque_Medrano_1898.jpg|Cirque Medrano (c.1898)&lt;br /&gt;
File:Director_Geronimo_Medrano.jpeg|Geronimo Medrano (c.1900)&lt;br /&gt;
File:Medrano_-_rue_Viollet-le-Duc.jpg|Cirque Medrano (c.1900)&lt;br /&gt;
File:Medrano_Boum-Boum.jpg|Program Cover (c.1900)&lt;br /&gt;
File:Nouveau_Cirque_Façade_(1904).jpeg|The Nouveau Cirque (1904)&lt;br /&gt;
File:Geronimo_Medrano_4_spt_1904.jpg#See_Also|Geronimo Medrano at the Cirque Medrano (1904)&lt;br /&gt;
File:Geronimo_Medrano_at_Cirque_Medrano.jpeg|Geronimo Medrano (c.1905)&lt;br /&gt;
File:Antonet_et_Grock.jpeg|Antonet &amp;amp; Grock (1908)&lt;br /&gt;
File:Cirque_Medrano_(Paris).jpg|Cirque Medrano (c.1910)&lt;br /&gt;
File:Rico_y_Alex.jpeg|Rico &amp;amp; Alex (c.1910)&lt;br /&gt;
File:Alphonse_Rancy.jpg|Alphonse Rancy (c.1910)&lt;br /&gt;
File:Cirque_Medrano_c1910.jpg|Cirque Medrano (c.1910)&lt;br /&gt;
File:Medrano_Poster_Tehelem.jpg|Poster by E. Tehélem (c.1915)&lt;br /&gt;
File:Medrano_rue_des_Martyrs.jpg|Cirque Medrano: Stage Door rue des Martyrs (1916)&lt;br /&gt;
File:Berthe_Medrano,_Jerome_and_Rodolphe_Bonten.jpeg|Berthe and Jérôme Medrano with Rodolphe Bonten (c.1918)&lt;br /&gt;
File:Le_Cirque_Medrano_-_Fernand_Leger.jpeg|&amp;quot;Le Cirque Medrano&amp;quot; by Fernand Léger (1918)&lt;br /&gt;
File:Les_Fratellini_-_Fernand_Léger.jpeg|Les Fratellini by Fernand Léger (c.1924)&lt;br /&gt;
File:Les_Fratellini.png|The Fratellinis (c.1925)&lt;br /&gt;
File:The_Andreu-Rivels_(c.1925).jpg|The Andreu-Rivels (c.1925)&lt;br /&gt;
File:Ernst_Schumann_-_Mills.jpeg|Ernst Schumann (1926)&lt;br /&gt;
File:Barbette_by_Gesmar.jpg|Barbette by Charles Gesmar (1926)&lt;br /&gt;
File:Dario-Bario-Rhum.jpg|Bario, Dario &amp;amp; Rhum (c.1928)&lt;br /&gt;
File:The_Cairolis_c1930.jpg|Cairoli, Porto &amp;amp; Carletto (c.1930)&lt;br /&gt;
File:Antonet_et_Beby_-_Pavil.jpeg|Poster for Antonet &amp;amp; Béby by Pavil (c.1930)&lt;br /&gt;
File:Vesque_Rastelli_1930.jpg|Enrico Rastelli by M.J. Vesque (1930)&lt;br /&gt;
File:Medrano_Construction.jpeg|Medrano's semi-construction (1932)&lt;br /&gt;
File:Fratellini_Trio_(1932).jpeg|The Fratellinis (1932)&lt;br /&gt;
File:Vesque_Recordier_et_Boulicot_1934.jpg|Recordier &amp;amp; Boulicot by M.J. Vesque (1934)&lt;br /&gt;
File:Medrano_Magazine.jpeg|Program Cover (1935)&lt;br /&gt;
File:Vesque_-_Togare_(1935).jpg|Togare at Medrano by M.J. Vesque (1935)&lt;br /&gt;
File:Medrano_Song.jpeg|Music Sheet Cover (1936)&lt;br /&gt;
File:Medrano_Voyageur_Band.jpeg|Medrano Voyageur's Band (1936)&lt;br /&gt;
File:Medrano_Voyageur.jpeg|Medrano Voyageur (1936)&lt;br /&gt;
File:Medrano_Tear-Down.jpeg|Medrano-Voyageur's Tent Crew (1936)&lt;br /&gt;
File:Medrano_Orchestra.jpg|Medrano Voyageur's Circus band (1936)&lt;br /&gt;
File:Cirque_Medrano_Voyageur_1936.jpeg|Medrano Voyageur in Paris by M. J. Vesque (1936)&lt;br /&gt;
File:The_Cairolis.jpeg|Medrano-Voyageur Poster featuring the Cairolis (1936)&lt;br /&gt;
File:Jerome-Rachel_Medrano.jpeg|Rachel and Jérôme Medrano (1937)&lt;br /&gt;
File:Medrano_-Trubka_Poster.jpeg|Medrano Voyageur Poster (1937)&lt;br /&gt;
File:Grock_Medrano_Poster.png|Grock on Tour with Medrano (1937)&lt;br /&gt;
File:Togare_-_Medrano.jpeg|Togare (1937)&lt;br /&gt;
File:Cirque_Medrano_Voyageur_1937.jpeg#See_Also|Medrano Voyageur by M. J. Vesque (1937)&lt;br /&gt;
File:Medrano_Program_Cover_1937.jpg|Program Cover (1937)&lt;br /&gt;
File:Medrano_Program_Cover_1938.jpg|Program Cover by Jean Mercier (1938)&lt;br /&gt;
File:Alex_et_Porto.jpeg|Alex &amp;amp; Porto (1938)&lt;br /&gt;
File:Medrano_by_night.jpeg|The Façade by Night (1938)&lt;br /&gt;
File:Medrano-Busch_Program.jpeg|Program Cover for Medrano-Busch (1940)&lt;br /&gt;
File:Pipo_and_Rhum.jpg|Pipo &amp;amp; Rhum (c.1942)&lt;br /&gt;
File:Alex_et_Zavatta.png|Alex &amp;amp; Zavatta (c.1942)&lt;br /&gt;
File:Medrano_Poster_1942.jpeg|Medrano Poster (1942)&lt;br /&gt;
File:Medrano_Chesterfollies_43.jpg|Program Cover (1943)&lt;br /&gt;
File:Recordier_et_Boulicot.jpg|Recordier &amp;amp; Boulicot (1945)&lt;br /&gt;
File:Buster_Keaton_-_Medrano_47.jpeg|Buster Keaton (1947)&lt;br /&gt;
File:Cirque_Medrano.jpg|Cirque Medrano (1948)&lt;br /&gt;
File:Medrano_-_Kiffer.jpeg|Poster by Charles Kiffer (1949)&lt;br /&gt;
File:Medrano_Program_Cover_Roger_Guit.jpeg|Program Cover by Roger Guit (1950)&lt;br /&gt;
File:Drena_et_Loriot.jpg|Jean Dréna &amp;amp; Loriot (c.1950)&lt;br /&gt;
File:The_Craddocks_-_Medrano.jpeg|The Craddocks (1951)&lt;br /&gt;
File:Jerome_Medrano.jpeg|Jérôme Medrano (1952)&lt;br /&gt;
File:Grock_at_Medrano.png|Grock at Medrano (1952)&lt;br /&gt;
File:Medrano_-_Bario.jpeg|Poster featuring Les Bario (1952)&lt;br /&gt;
File:Cirque_Medrano_Paris.jpg|Grock featured at Medrano (1952)&lt;br /&gt;
File:Violette_Schmidt_(1952).jpeg|Violette Schmidt (1952)&lt;br /&gt;
File:Violette_Schmidt-Medrano.jpeg|Violette Schmidt (1952)&lt;br /&gt;
File:Keaton-Medrano.jpeg|Buster Keaton (1952)&lt;br /&gt;
File:Buster_Keaton_at_Medrano.jpeg|Buster &amp;amp; Eleanor Keaton (1952)&lt;br /&gt;
File:Alex_and_Keaton_(1952).jpeg|Buster Keaton with Alex (1952)&lt;br /&gt;
File:Jerome_et_Violette_Medrano.jpg|Violette &amp;amp; Jérôme Medrano, with actor Michel Simon (c.1952)&lt;br /&gt;
File:Medrano_Program_53.jpg|Program Cover (1953)&lt;br /&gt;
File:Buster_and_Eleanor_Keaton.jpg|Buster &amp;amp; Eleanor Keaton (1954)&lt;br /&gt;
File:Buster_Keaton_1954.jpeg|Buster Keaton (1954)&lt;br /&gt;
File:Medrano_Vertes_Program.jpeg|Program Cover by Vertès (1955)&lt;br /&gt;
File:Gilbert_Houcke_Tarzan_(Medrano).jpg|Gilbert Houcke at Medrano (1955)&lt;br /&gt;
File:Zavattarzan.jpeg|Achille Zavatta in ''Les Chesterfollies 56'' (1956)&lt;br /&gt;
File:Medrano-Williams.jpeg|Circus Williams at Medrano (1956)&lt;br /&gt;
File:Medrano_-_Fernand_Raynaud.jpg|Cirque Medrano (1957)&lt;br /&gt;
File:Medrano_Albert_Fratellini-Allez_Rire.jpeg|Albert Fratellini (1957)&lt;br /&gt;
File:Medrano_Program_1960.jpeg|Program Cover by André Troy (1960)&lt;br /&gt;
File:Bario_-_Cavalcade_sur_Glace.jpg|Les Bario in ''Cavalacade sur Glace'' (1960)&lt;br /&gt;
File:Corry_Vermeeren.jpeg|Corry Vermeeren (1960)&lt;br /&gt;
File:Medrano_Program_61.jpeg|Program Cover by Jean Cocteau (1961)&lt;br /&gt;
File:Medrano_Blvd_Rochechouart_(1962).jpeg|Aerial view of Cirque Medrano (1962)&lt;br /&gt;
File:Jerome_Medrano_1963.jpeg|Jérôme Medrano, January 7, 1963&lt;br /&gt;
File:Medrano_Farewell.jpg|Violette and Jérôme Medrano, January 7, 1963&lt;br /&gt;
File:Medrano_-_Last_Day.jpeg|After the Last Performance, January 7, 1963&lt;br /&gt;
File:Medrano_Facade_01-63.jpeg|Medrano's façade, shortly after its closing (1963)&lt;br /&gt;
File:Hermanos_Clowns.jpeg|Les Frères Hermanos at the Cirque de Montmartre (1968) &lt;br /&gt;
File:Medrano_Farandole.jpg|The Clowns of Medrano by Pierre Etaix (c.1970)&lt;br /&gt;
File:Medrano_by_Zaika.jpg|Cirque Medrano by Elena Zaïka (2013)&lt;br /&gt;
File:Medrano_Mausoleum.jpeg|Medrano Mausoleum in Paris&lt;br /&gt;
&amp;lt;/Gallery&amp;gt;&lt;br /&gt;
&lt;br /&gt;
[[Category:Circuses|Medrano (Paris), Cirque]][[Category:History|Medrano (Paris), Cirque]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=Cirque_Medrano_(Paris)&amp;diff=36477</id>
		<title>Cirque Medrano (Paris)</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=Cirque_Medrano_(Paris)&amp;diff=36477"/>
				<updated>2021-08-20T17:29:01Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: /* The Circus That Fernando Built */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;''By Dominique Jando''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Paris’s legendary Cirque Medrano holds a singular place in the Parisian cultural fabric and in circus history. From its beginnings as Cirque Fernando, in 1873, until the end of [[Jérôme Medrano]]’s management in 1962, it was tightly woven into the artistic life of the French capital, not only as a popular place of entertainment, but also for its long association with artists, writers, journalists, and Paris’s intelligentsia in general. It has been celebrated in paintings, novels, movies, and even popular songs. Its history is also closely intertwined with the life of its three historic directors: Louis Fernando, [[Geronimo Medrano]], and [[Jérôme Medrano]].&lt;br /&gt;
&lt;br /&gt;
Sometimes referred to as &amp;quot;The Temple of Clowns,&amp;quot; it has featured many of the world’s greatest clowns, from Geronimo Medrano to [[Buster Keaton]], and launched the extraordinary career of the [[Les Fratellini|Fratellinis]]. It had also sent into the limelight hitherto little known performers of immense talent, transforming them into genuine circus stars; appearing in its ring was a recognition for any circus artist. Its last performance under Jérôme Medrano’s reign in January 1963 was an event attended by the Tout-Paris of the arts, and its demolition in December 1973 caused a massive uproar that eventually led to a legislation protecting Paris’s historic theaters.&lt;br /&gt;
[[File:Medrano_Farandole.jpg|right|300px]]&lt;br /&gt;
&lt;br /&gt;
===Ferdinand Beert===&lt;br /&gt;
&lt;br /&gt;
This most Parisian of circuses was actually built by a Belgian circus entrepreneur. Ferdinand Constantin Beert (1835-1902) was born July 31, 1835 in Courtrai, Belgium, to Auguste Jean Beert, a butcher, and Delphine Beert, née Steinbrouk. As legend has it, at age eleven Ferdinand &amp;quot;ran away and joined the circus&amp;quot;&amp;amp;mdash;in this case the Cirque Paisse &amp;amp; [[The Gauthier Family|Gauthier]], which was touring in Belgium. There, as the story goes, Ferdinand trained with an acrobat and worked as a groom, learning the basics of horsemanship on the job. Yet, how Ferdinand’s career actually evolved after his auspicious flight from home remains conjectural, but he did actually work for Paisse &amp;amp; Gauthier.&lt;br /&gt;
&lt;br /&gt;
On April 17, 1857, Ferdinand Beert married in Bruges Maria-Tereza Deseck, a Belgian equestrienne who, like him, was not born in the circus: Her father was a bargeman. Ferdinand was twenty-two; Maria-Tereza already had a son, Louis-Charles, born in Bruges in 1851 (probably out of wedlock), whom Ferdinand adopted. Louis-Charles (the future Louis Fernando) was then six years old, just fifteen years younger than his new stepfather. The Beerts toured with the Cirque Gauthier in Belgium, Holland, Germany, and England. During this time, Louis was being trained as an equestrian&amp;amp;mdash;against his will, it must be said.&lt;br /&gt;
&lt;br /&gt;
[[File:Cirque_de_I%27impératrice.jpg|thumb|left|400px|The Cirque de l'Impératrice on the Champs-Élysées]]In 1861, Ferdinand Beert was hired by [[Louis Dejean]], the famous French circus entrepreneur, for his Parisian resident company. Beert performed for the first time in the French capital at Dejean’s Cirque Napoléon (today’s [[Cirque d’Hiver]]), and then, for the summer season, at his [[Cirque de l’Impératrice]] on the Champs-Elysées. For his first appearance with Dejean, Ferdinand presented an acrobatic duet on horseback with his partner, Armand, and performed a barrel-vaulting act. Ferdinand Beert, who was a very versatile all-around performer, remained with Dejean for ten consecutive years, appearing in a wide variety of acts, on horseback and on the ground, as well as in clown entrées and in pantomimes. &lt;br /&gt;
&lt;br /&gt;
In time, Louis Beert would perform the same equestrian repertoire as his father’s, but after a bad fall in 1865 in which he suffered a broken leg and a broken arm, Louis was forced to abandon bareback riding. The great Equestrian Master [[François Baucher]] (1796-1876), who was Dejean’s equestrian director, decided to take Louis under his wing and teach him the intricacies of true horsemanship&amp;amp;mdash;from classic haute-école to presentation of horses &amp;quot;at liberty.&amp;quot; Their sedentary years in Paris also gave Ferdinand and Maria-Tereza Beert the possibility to give Louis a solid academic education.&lt;br /&gt;
&lt;br /&gt;
While working for Dejean, Ferdinand acquired a stage name, ''Fernando'', and most importantly, a good knowledge of the Parisian audience. He had had also ample opportunity to observe at close range how Dejean managed his circuses. In the summer of 1871, Fernando appeared for the last time at the [[Cirque des Champs-Élysées]]&amp;amp;mdash;the Cirque de l’Impératrice’s new name after the fall of Napoléon III’s Second Empire in 1870. He would not return to the newly named Cirque National (formerly Cirque Napoléon) for the winter season: Contemplating the dawn of a new Republican era, Fernando Beert had decided to start his own circus!&lt;br /&gt;
&lt;br /&gt;
==LE CIRQUE FERNANDO (1875-1897)==&lt;br /&gt;
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Beert’s original ''Cirque Fernando'', a traveling circus, was launched at Vierzon, a small town in France’s Center region, in the spring of 1872. The company included ten horses and five artists: Fernando and his stepson, Louis (now twenty-one), the equestrian Philippe Bertoletti, the trapeze artist and equestrian Baptiste Gillardoni, and the English clown George Howard. It was a small company, but the number of horses and the presence of four equestrians reveal that horsemanship was the performance’s main fare&amp;amp;mdash;not surprisingly, since the age of equestrian circus was still in full bloom. &lt;br /&gt;
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Fernando’s roster of performers grew in number as his circus toured the French provinces with various degrees of success. As for Maria-Tereza, she had retired from performing and took care of the administration (i.e. box office and basic accounting); she was also quite busy bringing up the couple’s three children, Adolphe, Marthe, and Eugénie&amp;amp;mdash;of whom only Adolphe and Marthe would perform in the family’s circus&amp;amp;mdash;and she had perhaps lost the slender physical shape expected of a ballerina on horseback. She was now the respectable Mrs. Fernando.&lt;br /&gt;
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===La Fête de Montmartre===&lt;br /&gt;
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In August of 1873, Fernando set up his circus tent at the ''Fête de Montmartre'', a popular summer fair that was traditionally held on the hill of Montmartre, on the northern edge of Paris. The previous month, however, the French government had given the green light to the construction of the Sacré-Cœur basilica on the open space where the fair traditionally took place, at the top of the hill. Consequently, the fair was moved down to the median walkway of the Boulevard de Rochechouart, on the southern edge of Montmartre. It was large enough to accommodate the fair’s booths and carousels, and even a traveling menagerie, but not a circus tent. Luckily, Fernando found an empty lot at the corner of the Boulevard de Rochechouart and the Rue Lallier, and was able to lease it for the duration. &lt;br /&gt;
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[[File:Fernando-Medrano_Montmartre.jpg|thumb|430px|right|Site of the Cirque Fernando]]Montmartre and its immediate vicinity formed a animated and colorful working-class neighborhood, already renowned for its many places of amusement: La Boule Noire, one of its better known dancing halls, was located just across the boulevard from Fernando’s lot; there were also the Bal Tabarin and La Reine Blanche, to mention just two of the most famous &amp;quot;bals&amp;quot; (dancing halls) that attracted revelers to the Boulevard de Rochechouart. The Moulin de la Galette, a &amp;quot;guinguette&amp;quot; (a tavern with dancing), was another popular rendezvous located on the hill itself; and soon, the Bal du Moulin Rouge would be added to the list (on the Boulevard de Clichy, the western continuation of the Boulevard de Rochechouart). &lt;br /&gt;
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Montmartre’s large bohemian population included many painters&amp;amp;mdash;among whom Auguste Renoir, Edgar Degas, Georges Seurat, and Henri de Toulouse-Lautrec. They quickly became regulars of the Cirque Fernando, where Mrs. Fernando gave them free access to rehearsals to sketch the performers at work and, sometimes, to see the show. In turn, they brought in their wake a host of young trendsetting writers, journalists and other Parisian literati to the circus; these well-connected visitors would generate a considerable publicity for the Fernandos. &lt;br /&gt;
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When it was originally set up in Montmartre, Fernando’s circus was a small canvas tent supported by a single pole, which offered rather spartan seating accommodations; with its worn wooden wagons surrounding the tent, and most of its artists living onsite, the whole affair looked like a gypsy encampment. Yet, Fernando’s show was commendable and had charm, and it was generally well received by the critics who made the trip to the Boulevard de Rochechouart. &lt;br /&gt;
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More importantly, Fernando discovered that there was a large indigenous population ready to return to a local circus when its programs were renewed&amp;amp;mdash;to which could be added the many visitors who came to have a good time in this lively neighborhood. Thus, when the fair came to an end, Fernando extended his lease and replaced his tent by a ''semi-construction'' with a canvas top over a wooden structure, and a boarded wall to keep it warm during the coming winter months. The French novelist Jules Claretie (1840-1913) gave a good description of the Cirque Fernando at that time in his novel ''Le Train 17'' (1877), in which his not-so-imaginary circus was named ''Cirque Francis Elton.''&lt;br /&gt;
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By then, Fernando’s company of performers had expanded; in the spring of 1874, it included&amp;amp;mdash;beside the Fernandos, Bertoletti and Gillardoni&amp;amp;mdash;Ferdinand and Victor [[Cirque Bouthors|Bouthors]]; the equestriennes Clotilde Bertoletti, Mlle Marthe (Fernando) and Mlle Juliette; and most significantly, the clowns Geronimo Medrano (1849-1912) and his partner, Pasquale. Unbeknownst to him, Medrano was on his way to stardom in a building that would one day bear his name&amp;amp;mdash;for Mrs. Fernando, who saw the money flowing in at the box office, had decided it was time to build a permanent circus in Montmartre.&lt;br /&gt;
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===The Circus That Fernando Built===&lt;br /&gt;
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At the beginning of 1874, the Fernandos had met with a Mr. Loiseau, owner of the ground where they were installed, and since Loiseau had no immediate prospect for his piece of land, they secured a thirty-year lease on a parcel located a few yards west of their ''construction'', at the corner of the Rue des Martyrs. Unlike the Rue Lallier, the Rue des Martyrs intersected the Boulevard de Rochechouart at a right angle, which made the design of a building easier. Furthermore, they could keep their existing circus structure active on its old spot during the construction work.&lt;br /&gt;
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[[File:Medrano_Cross_Section.jpeg|thumb|left|450px|Gridaine's blueprint (1874)]]The Fernandos asked a local architect, Gustave-André Gridaine (1835-?), to design the new circus after the [[Cirque des Champs-Elysées]]. (The larger [[Cirque d’Hiver]], with its remarkable self-standing cupola, was much too expensive a model to be seriously considered.) From then on, everything moved at a fast pace. On May 1, Fernando sent Gridaine’s completed blueprints to the ''Préfecture de Police'' to obtain the necessary &amp;quot;permis de bâtir&amp;quot; (permit to build). &lt;br /&gt;
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Some circus historians have mentioned that no building permit has ever surfaced, thus inferring that the construction of the Cirque Fernando had been somewhat illegal. However, this is a misconception: There were no building permits per se at the time, and the documents presented to the Prefecture de Police constituted in themselves the &amp;quot;permis de bâtir&amp;quot;&amp;amp;mdash;unless the Préfecture de Police opposed the construction of a building on the planned location for a reason or another, but not related to any technical or architectural aspect of the construction. It was just a routine procedure. Since nothing prevented the construction of a circus on Fernando's chosen location, the work began on August 15, 1874.&lt;br /&gt;
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To finance part of the operation, the Fernandos made an unusual deal with their building contractor, a Mr. Oudin. Oudin agreed to be paid in installments, and as a guarantee, the Fernandos transferred to him all their circus equipment, and even their lease. In turn, Oudin used Fernando’s properties and lease as collateral to obtain a credit of 100,000 francs from the Banque Boulley et Cie. In time, this financial arrangement would generate serious problems, and it would have unintended consequences that eventually resulted in Jérôme Medrano losing his circus to the [[The Bouglione Family|Bouglione]] family nearly a century later.&lt;br /&gt;
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By the end of November, the circus's main infrastructure was completed; the new Cirque Fernando opened its doors seven months later, on June 25, 1875. Its address was at 63 Boulevard de Rochechouart, and it had cost over 500,000 Francs&amp;amp;mdash;approximately €5,775,000 today. In spite of a limited space (the usable surface was about 40 x 40 meters) and a relatively small budget, Gridaine had done a very fine job. The style was &amp;quot;classic-Haussmann,&amp;quot; with a pleasant façade&amp;amp;mdash;albeit missing the equestrian statue that was meant to top it and was never made&amp;amp;mdash;ornamented with Corinthian columns framing three arched doors that led to a small reception hall, where the box office was located. Above the doors were the three French windows of the foyer standing above the reception hall, ornamented with elegantly designed wrought-iron balustrades.&lt;br /&gt;
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The house itself was a sixteen-sided polygon with an inside diameter of 34.10 meters (35 meters outside). The ring had the traditional diameter of 13 meters. The roof, whose metallic frame remained fully visible, was divided in two concentric circles; the inner circle was an elevated cupola, 22.5 meters in diameter, supported by sixteen cast-iron columns. Its height, up to the base of the lantern, was about 20 meters. The peripheral wall of the central cupola had windows, and so had the lantern, so that sunlight could be used during rehearsals and matinees&amp;amp;mdash;but there were also sixteen large gas chandeliers hanging between the columns at the circumference of the cupola to lit evening performances. &lt;br /&gt;
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[[File:Medrano_floor_plan.jpg|thumb|450px|right||Gridaine's blueprint (1874)]]The house was said (on paper) to accommodate 2,080 spectators, packed on thirteen rows of seats divided in three categories, with a partition between the second and third categories, and a ''promenoir'' (standing room gallery). The First and Second Places had padded benches with back support; the Third Places had simple benches with a &amp;quot;butt stop.&amp;quot; The seating accommodations might seem a little Spartan by today’s standards, but as a whole, the Cirque Fernando was more comfortable than Dejean’s much larger Cirque d’Hiver (which had by then passed under the management of [[Victor Franconi]]). The narrow peripheral ''promenoir'' ran just behind the Third Places. The bandstand was placed above the artists’ entrance, and, facing it, was a large ''loge'' (box) with four rows of seats, at the back of which was the little open foyer that stood above the reception hall. &lt;br /&gt;
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Unlike the Cirque des Champs-Elysées and the Cirque d’Hiver, the various categories of seats were connected together, which generated a convivial environment. The steep gradient between the rows not only offered the audience an excellent visibility (notwithstanding the columns in front of the Second Places), but also very good acoustics&amp;amp;mdash;a definite plus for the clowns. The house was nicely decorated with garlands of flowers painted on the periphery of the cupola, and gold accents adorning architectural details. The columns were painted in faux marble, and the walls and ceiling in a shade of peach-pink. The house irradiated a feeling of warmth and elegance&amp;amp;mdash;and intimacy, which was not its lesser charm.&lt;br /&gt;
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If the house was, of course, circular, the entire building was contained within a square. On the forefront, flanking the façade on each side, were two spaces designed to accommodate a coffee house and offices; starting in 1885, they were leased to the photographic studio Chamberlin, whose name would remain associated with the circus building until the late 1950s. In the back, behind the house, was a small two-story structure; on the street side, next to the stage door (at 72ter Rue des Martyrs), stood the concierge’s lodge and an all-purpose space that could house horses and animals. Fernando’s large apartment was located above, on the first floor. &lt;br /&gt;
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On the opposite side, stables (with room for 16 horses) occupied the ground floor, and the second floor accommodated a suite of rather cramped dressing rooms for the artists. (Two additional dressing rooms were located below ground level, under the seats, on each side of the ring entrance&amp;amp;mdash;one of them traditionally used by the clowns). This side of the building had no door opening outside, since the small Rue Viollet-le-Duc, which would later flank the east side of the circus, didn’t exist yet (it was opened in 1880). &lt;br /&gt;
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The backstage area, between the two aisles, was relatively narrow; it served nonetheless as a secondary foyer with a small ''buvette'' (refreshment stand), which, when the main foyer at the front of the house was later suppressed under Jérôme Medrano’s tenure, was replaced by a bona-fide bar where artists and spectators mingled during intermission&amp;amp;mdash;a beloved feature that added to the charm and uniquely convivial atmosphere of this circus.&lt;br /&gt;
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===The Circus That Medrano Also Built===&lt;br /&gt;
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The Cirque Fernando had already begun to develop its Parisian reputation during its canvas days, but now that it was performing in a permanent building, with the added comfort this implied, it quickly became a true destination. Mrs. Fernando continued her policy of giving the neighboring artists free access to rehearsals, and they continued to bring along their friends: Journalists and writers liked the new circus’s warm atmosphere, and Fernando Beert was able to deliver the quality they expected of its shows. They made it known.&lt;br /&gt;
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[[File:Medrano_-_Maurice_Blum.jpg|thumb|300px|left|Geronimo Medrano in Fernando's semi-construction by Maurice Blum (1875)]]The program, which was renewed partially every week, was rich and varied: The opening performance even included [[James C. Edmonds]]’s elephants, a spectacular type of act that was not frequent then. A few members of the vast and celebrated [[The Chiarini Family|Chiarini]] family, the dog and monkey trainer [[Jules Bugny]], the American equestrienne Jenny Visser, and the clowns Vallier &amp;amp; William were part of the original fare, along with the dependable Gillardoni and Bertoletti, and the Vicomte de Corbie presided over a liberty act. Yet it soon became evident that Fernando’s trump card was his &amp;quot;premier clown,&amp;quot; Geronimo Medrano, better known as ''Boum-Boum''. He was by far the popular audience’s favorite, and was on his way to turn into Fernando’s star performer. &lt;br /&gt;
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Born in Madrid in 1849 to a Spanish mother and a Mexican father, Geronimo trained in gymnastics as an adolescent and, at age twenty, built a flying trapeze act with a partner, Leopold Salonne. Created in 1859 at Paris’s Cirque d’Hiver by [[Jules Léotard]] (1838-1870), the flying trapeze had quickly become an act à la mode&amp;amp;mdash;albeit not an easy one to tackle&amp;amp;mdash;due to Léotard’s astonishing success. It was originally performed from trapeze to trapeze, but Medrano and Salonne were among the very first flying trapeze artists to include passes from a trapeze to a suspended catcher. Yet what truly set Medrano and Salonne apart is that theirs was a comedy act.&lt;br /&gt;
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They had already performed all over Europe when they landed in Paris in June 1872, at the Cirque des Champs-Elysées, where they achieved a notable success. Although Fernando had already left Dejean’s company, he may have met Geronimo Medrano then and there. In any event, in 1873, Medrano and Salonne parted company, and Fernando Beert, who had now a circus of his own, offered Medrano to work for him as a clown; Geronimo was blessed with a warm and sunny personality and was immediately successful. He was also good at training small animals, and his favorite partner in the ring was a pig&amp;amp;mdash;a foil of choice to many a clown (as [[Billy Hayden]], [[Tony Grice]] and, later, [[Anatoly Durov]] bear witness).&lt;br /&gt;
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Quite often, clowns use in the ring a catchphrase that eventually becomes their trademark; Medrano used to give the bandleader the signal to play his exit music by shouting to him a resounding &amp;quot;boum boum!&amp;quot; (&amp;quot;boom boom!&amp;quot;) . Geronimo’s recurring exclamation stuck, and very soon his audiences nicknamed him ''Boum-Boum''. Although he was not specifically featured in Fernando’s advertising, a large part of the popular audience went to the Cirque Fernando to see Boum-Boum. He didn’t need to be announced: The audience knew he would be there. He was, so to speak, part of the furniture&amp;amp;mdash;and he contributed to a large extent to the success of Fernando.&lt;br /&gt;
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===Enter Louis Fernando===&lt;br /&gt;
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During its first summer recess in August 1875, the Cirque Fernando housed a series of concerts of &amp;quot;modern music.&amp;quot; When it reopened in September, Fernando Beert’s stepson, Louis Fernando, was in charge of the programs&amp;amp;mdash;becoming in effect the circus’s Artistic Director. Why Fernando delegated this crucial responsibility to Louis? The Beerts were heavily in debt, and to add an extra income, Fernando had decided to resume the tours of his traveling circus, while he progressively left Louis in charge of the building.&lt;br /&gt;
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[[File:Fernando_-_Lautrec.jpeg|thumb|right|400px|Louis Fernando by Henri de Toulouse-Lautrec (1887)]]Moreover, if Fernando knew how to run a traveling circus, the running of a Parisian circus was another matter altogether: It required to be constantly aware of the performers’ market, endlessly deal with artists or agents, be attuned to the trends of the moment, and most importantly, be very creative. Louis Fernando, who was a snob of sorts eager to be part of Parisian society, had a much better education than his stepfather and kept au courant with the fads of Paris life, and he had indeed a more genial personality. All in all, Louis was better suited than his stepfather to run a Parisian place of entertainment. In fact, Fernando Beert had rarely been in the limelight as a director: His wife and his stepson had always been the circus’s front persons. &lt;br /&gt;
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Louis proved to be a good artistic director; he knew how to compose attractive programs, was open to novelties, and understood well that he had to boost his best property, &amp;quot;Boum-Boum&amp;quot; Medrano. However, on the administrative side, the Beerts’ lack of financial acumen was their Achilles’ heel. In 1876, to satisfy the demands of their creditors, they tried to create a corporation, but the constitution of their capital, as it was, was judged illegal, and the corporation was dissolved. At this point, their financial and legal situation had become so complicated that it had created a vacuum in which Louis Fernando had ample room to move as he saw fit. The flip side was that the Beerts had nothing left to their name: All their properties, including their building and their land lease, were held as a security by their bank.&lt;br /&gt;
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In June 1876, Louis Fernando married into well-to-do Parisian bourgeoisie: The father of Jeanne Gabrielle Houssaye (1858-1894), his young wife, was a well-known tea merchant who had created the first Parisian tearoom on the Champs-Elysées during the ''Exposition Universelle'' (World Fair) of 1867. Louis and Jeanne Fernando took up residence at the Rue du Dôme, near the Place de l’Étoile in Paris, in a fashionable neighborhood. (Together, Jeanne and Louis Fernando had a son, Gabriel Eugène Henry Beert (1875-1902), apparentlly before their marriage, who died at the age of twenty-seven, and of whom nothing is known.) Over the years, Louis’s lifestyle, fueled by his social ambitions, will hurt his and his circus’s already shaky financial situation.&lt;br /&gt;
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[[File:Miss_Lala.jpg|thumb|300px|left|Lala Kaira at the Cirque Fernando painted by Edgar Degas (1879)]]Nonetheless, Louis Fernando was a capable Artistic Director. He was aware that his circus was not equipped to compete efficiently in the equestrian department with the Cirque d’Hiver and the Cirque des Champs-Elysées, or to stage the spectacular pantomimes the Cirque d’Hiver, and soon, the huge [[Hippodrome de l’Alma]] (open in 1877) produced. The Cirque Fernando was, however, better tailored than its competition for intimate comedy, and it had a popular leading clown to boot. In January 1876, Louis produced ''Le Barbier Frétillant'' (&amp;quot;The Wriggling Barber&amp;quot;), a comic pantomime with Boum-Boum in the title role. It was the first of a long series of similar pieces that featured Geronimo Medrano and made him a true circus star. &lt;br /&gt;
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Novelty acts, not star equestrians, were what set the Cirque Fernando apart&amp;amp;mdash;from an all-female equestrian show, to the riding seal of Raziscoff, or the lions of Captain Cardona. In December 1878, the sensation of the show was the Mulatto aerialist [[Miss Lala]] (Olga Albertina Brown, 1858-?), &amp;quot;la Sirène des Tropiques&amp;quot; (&amp;quot;The Tropics’ Mermaid&amp;quot;), who had a considerable Parisian success and was immortalized by Edgar Degas. (This show also featured the Fratellinis, in the person of [[Gustave Fratellini]]&amp;amp;mdash;the father of the legendary [[Les Fratellini|François, Paul and Albert]]&amp;amp;mdash;and his partner Gustave Romoli.) Miss Lala and the [[Kaira Troupe]] (in which she belonged) went on tour with the tenting Cirque Fernando during the summer and remained under contract with Fernando until the end of 1879. &lt;br /&gt;
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When the Cirque Fernando went on its annual provincial tour under canvas in the summer of 1879, Medrano went to work at the Hippodrome de l’Alma, while the Fernando building was rented out and transformed into a ''café concert''&amp;amp;mdash;a variety show featuring mostly singers, and where drinks were served. The circus would often be similarly rented out in the summer for extra-curricular activities, and during the season, on dark days, for public meetings or political reunions: The most publicized of them were meetings held by Georges Clémenceau, then the Député (M.P., or Representative) of Montmartre. (A major French columnist and politician, Clémenceau would become France’s Prime Minister in 1917, during WWI, and helped build victory over Germany.)&lt;br /&gt;
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Geronimo Medrano was still Fernando’s top attraction, and the central character of its joyous pantomimes. At the opening of the 1882 season, he was additionally promoted to the important function of ''Régisseur Général''&amp;amp;mdash;a mixture of company manager and performance director specific to the circus: He was in charge of the performers, the crew, the rehearsals, and the performances. In his spare time, he also trained young equestriennes, such as the Cardinale Sisters, who performed at the circus as bareback riders in 1885. &lt;br /&gt;
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As for Jeanne Fernando, Louis’s wife, she had made her debut in 1881 as an haute-école rider at the fashionable [[Cirque Molier|Cirque d’Amateurs]] that Ernest Molier presented annually in his Parisian townhouse on the rue de Bénouville, the courtyard of which had been converted into a small private circus. She had been trained in horsemanship by her husband, according to Baucher's method, and had become a remarkable equestrienne. &amp;quot;Madame Louis Fernando&amp;quot; was subsequently an intermittent equestrian feature of her husband’s circus: She was not in good health, which often took her away from the ring for long periods of time.&lt;br /&gt;
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===Competition===&lt;br /&gt;
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[[File:Nouveau_Cirque_Façade_(1904).jpeg|thumb|300px|right|The Nouveau Cirque's Façade on the Rue Saint-Honoré (1904)]]On February 12, 1886, Joseph Oller’s brand-new [[Nouveau Cirque (Paris)|Nouveau Cirque]] opened its doors on Rue Saint-Honoré, in the prosperous center of Paris, at a stone-throw of the Place Vendôme. It was a revolutionary circus: Its ring could sink to reveal a water basin&amp;amp;mdash;the very first circus equipped with such a device. It had also a palatial and comfortable house (with individual theater seating) which had been designed by Fernando’s architect, Gustave Gridaine. However, the façade and the elaborate reception hall were the work of Charles Garnier (1825-1898), the celebrated architect of Paris’s extravagant Opéra, which gave the place an additional cachet.&lt;br /&gt;
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Beside its plush elegance and its chic surroundings, which would quickly make it the High Society’s circus of choice, the Nouveau Cirque had put together a brilliant company of artists, among which was a group of very talented clowns: [[George Foottit]], [[Pierantoni and Saltamontès|Alexandre Pierantoni]], and [[Tony Grice]] with his young apprentice, the Black auguste [[Chocolat]]. The Nouveau Cirque also made good use of its water basin with comic pantomimes that inevitably ended with a big splash in the pool! Novelties and comedy had been so far what had distinguished the Cirque Fernando from Franconi’s more horse-oriented [[Cirque d’Hiver]]; now, Fernando had serious competition in its own particular domain from a better-located, and somehow more attractive circus. &lt;br /&gt;
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Louis Fernando’s business remained good nonetheless, as he stuck to the recipes that had made his success. Although George Foottit, already a star clown, loomed bigger than Medrano in the public eye, Boum-Boum was still attracting a faithful audience to the Boulevard de Rochechouart. Then, at the end of the summer of 1887, the touring Cirque Fernando ceased its activity (Fernando Beert probably retired soon after that). In 1888, the circus on the Boulevard de Rochechouart remained open during the summer three days a week; the rest of the time, Louis Fernando gave riding and vaulting lessons in the ring. Times were changing&amp;amp;mdash;and not for the better…&lt;br /&gt;
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In January 1889, the Cirque Fernando offered ''En Selle pour la Revue'', a humorous revue of the previous year’s events&amp;amp;mdash;the original meaning of a revue, a fashionable theatrical form then&amp;amp;mdash;written for &amp;quot;Boum-Boum&amp;quot; Medrano at his request by two well-known librettists, Surtac and Alévy (Gabriel Astruc, 1864-1938, and Armand Lévy, 1859-1935). Boum-Boum was the revue’s traditional ''compère'' (a mixture of Master of Ceremonies and stand-up comedian), and Louis Fernando, playing himself, was his straight man. It was a huge success that remained on the bill for three months, in spite of the controversial presence in the cast of La Goulue (Louise Weber, 1866-1929), the infamous Cancan dancer immortalized by Toulouse-Lautrec. &lt;br /&gt;
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Yet, on the Boulevard de Rochechouart, all was not in the pink at the &amp;quot;pink circus&amp;quot; (as the circus chronicler [[Serge]] would later dub it, referring to its warm color scheme, of which he was particularly fond). Louis Fernando’s financial situation was becoming increasingly unmanageable. As much as he was attached to the circus that had made him famous, Medrano was, from his position as ''Régisseur Général'', well aware of Fernando’s troubles, and he couldn’t see a bright future for himself in his company; in May, at the end of the season, Geronimo Medrano left the Cirque Fernando. In August, Boum-Boum debuted at the Nouveau Cirque, rue Saint-Honoré.&lt;br /&gt;
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===Fernando’s Decline===&lt;br /&gt;
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With Medrano’s defection, Fernando had indeed lost one of its main drawing cards. Although Boum-Boum Medrano did well as a clown at the Nouveau Cirque, he was outshined by George Foottit, who began to team up regularly with the Black auguste Chocolat; together, [[Foottit &amp;amp; Chocolat]] will become the Toasts of Paris, and remain so for a full decade. But Medrano had made a good move: In 1892, [[Raoul Donval]], the Nouveau Cirque’s new director, who appreciated Geronimo’s many talents, gave him the position of ''Régisseur Général''&amp;amp;mdash;the same position he had held for Louis Fernando, but this time in a much healthier financial environment.&lt;br /&gt;
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As for Louis Fernando, he had a huge success the same year with his politico-military pantomime, ''Les Marins de Cronstadt'', but he flopped soon after with a comic pantomime, ''Robert Macaire'', which he kept nonetheless on the bill for two months&amp;amp;mdash;which suggests that he had nothing else to offer. Nonetheless, Fernando’s programs remained by and large attractive, with their usual mix of novelty acts and comic pantomimes, which still competed effectively with the traditional equestrian fare of the Franconis’ Parisian circuses. &lt;br /&gt;
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[[File:Jeanne_Fernando.jpg|thumb|300px|left|Jeanne Fernando, equestrienne (c.1890)]]As it happened, the traditional equestrian circus, of which the Franconis were the indefectible champions, was slowly going out of favor: The mighty Hippodrome de l’Alma, home of large equestrian spectaculars, had to close its doors at the end of 1892, and was demolished in 1894. That year, the Baron Pierre de Coubertin had formed the International Olympic Committee, and the Automobile Club de France was created the following year: Sports and gymnastics (i.e. acrobatics) were in full bloom, and the automobile was replacing the horse. In this context, Louis Fernando’s circus formula was well attuned to the times; yet, he still had to contend with the Nouveau Cirque and to deal with a chaotic financial situation that was rapidly catching up with him.&lt;br /&gt;
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To make matters worse, Jeanne Fernando died on May 22, 1894 from a &amp;quot;terrible disease,&amp;quot; which may have been tuberculosis&amp;amp;mdash;for which there was no cure at the time, and the frightening name of which, like cancer, was always hushed up. Jeanne was only thirty-six, and Louis Fernando was devastated. He closed his circus and rented the building out for a season of operettas; the circus took the name of ''Théâtre Parisien''. It finally reopened as a bona-fide circus in December with the Troupe Rancy-Loyal in a show originally produced by [[The Rancy Dynasty|Alphonse Rancy]] in his resident circus at Lyon. Louis Fernando was nowhere to be seen.&lt;br /&gt;
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The Rancy-Loyal Troupe occupied the Cirque Fernando, renewing its shows regularly, until the spring of 1895. Then the circus was again rented out for a summer season of variety, and took the name of ''Concert d’Été''. Finally, at the end of the summer, it was completely refurbished, equipped with theater seating and a coco mat in the ring as in the Nouveau Cirque, and reopened at last in September 1895 under Louis Fernando’s management. In spite of commendable programs that were renewed each Wednesday, Louis Fernando had a hard time trying to bring back his public; he even had to lower his price of admission.&lt;br /&gt;
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By then, the ''Banque Boulley et Cie'', his bank, had long realized the security they had inherited from the Fernandos’ original dealings. On October 25, 1897, the new owner of Fernando’s circus building, who obviously had not been paid by his tenant, announced that the entire property, land and walls, would be auctioned off: His tenant, Louis Fernando, had staged a moonlight flit. The press mentioned the upcoming sale in early November. What exactly happened after that point is unknown; the sale, if any, was not publicly reported. In any event, the circus was closed and left with a sign on its door: &amp;quot;For Rent.&amp;quot;&lt;br /&gt;
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It was much later discovered that Louis Fernando had remarried on October 2, 1897 in Courbevoie, a Paris suburb, a short time before the announcement of his circus’s sale. We don’t know what became of him afterward; he disappeared from the public eye&amp;amp;mdash;and from the circus scene. He died probably in the early years of the twentieth century; the Fernando-Bert tomb at the ''Cimetière de Montmartre'' mentions only his wife, Jeanne, and their son, Gabriel. His mother and stepfather had long retired to Bruges, Belgium, where Fernando Beert passed away on December 30, 1902. Thus, by November 1897, the saga of the fabled Cirque Fernando had finally come to an end. Or had it?&lt;br /&gt;
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==LE CIRQUE MEDRANO (1897-1962)==&lt;br /&gt;
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Geronimo Medrano, like everyone else in the circus world, had followed the disturbing disintegration of the Cirque Fernando&amp;amp;mdash;but to him, the announcement of its demise hit closer to home. He had spent fifteen years with Fernando, saw the circus building come up, and he became famous in its ring; aside from Louis Fernando, no one had had more to do with its success than Medrano. For seven years, as its ''Régisseur Général'', he had also managed its daily operations. He knew this circus inside out. Geronimo Medrano had just managed Raoul Donval’s short-lived [[Hippodrome du Champs de Mars]] (1894-1897), on the Avenue Rapp; he was approaching his fifties, and he thought it was perhaps time to move ahead… &lt;br /&gt;
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===&amp;quot;Boum-Boum&amp;quot; Medrano, Circus Director===&lt;br /&gt;
All of a sudden, in December 1897, it was announced that Geronimo Medrano was the new tenant of the circus on the Boulevard de Rochechouart, which he had renamed ''Cirque Medrano''. Medrano, well aware that time was of the essence if he wanted to take hold of the vacant Cirque Fernando, had moved swiftly. In order to secure a long-term lease (the annual rental price was 40,000 Francs, about €128,000 today), he had enrolled his old friend [[Emilio Maîtrejean]], a retired acrobat and daredevil (and the son of the former ''Régisseur'' of the [[Cirque Napoléon]]), who had put his savings at Geronimo’s disposal.&lt;br /&gt;
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[[File:Director_Geronimo_Medrano.jpeg|thumb|right|300px|Geronimo Medrano (c.1900)]]Financially the operation could have been risky, as the Fernandos’ misadventures had shown all too well, especially since Medrano didn’t have time to secure any other backing source. However, two factors had swayed his decision: Firstly, the Cirque des Champs-Elysées was moribund and the Cirque d’Hiver was declining, which limited serious competition to the Nouveau-Cirque; more consequential, Chamberlin, the photo studio that occupied the spaces framing the circus’s façade, was the tenant of the circus itself, not of the property’s owner, and Medrano would therefore collect Chamberlin’s rent&amp;amp;mdash;the amount of which was about 40,000 Francs a year.… Geronimo signed a deal with the proprietor without much vacillation and moved his quarters into the circus building’s apartment!&lt;br /&gt;
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The press had been glad to spread the good news, enthusiastically wishing success to the new director. Unlike Louis Fernando, whom they had often derided as a snob and a social climber, the happy, genial, outgoing &amp;quot;Boum-Boum&amp;quot; Medrano had an excellent reputation among Parisian journalists and critics, and of course among the old Cirque Fernando’s aficionados. The fact that the defunct Cirque Fernando was now Medrano’s circus seemed to everybody a logical conclusion. And as everybody knew, a circus that bore the name of Medrano could only be a joyous circus.&lt;br /&gt;
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Thus the Cirque Medrano opened its doors on December 22, 1897 to an enthusiastic audience&amp;amp;mdash;neighborhood habitués and the usual crowd of Parisian cognoscenti, journalists, and artists of all species. The General Manager was Emilio Maîtrejean, and the company for the season included the [[Les Fratellini|Fratellinis]]&amp;amp;mdash;that is to say, the remarkable somersaulter on horseback François Fratellini, his brothers, the clowns Luigi and Paolo (Louis and Paul), and ''The Gentlemen'', the eccentric acrobatic and musical act performed by Albert and François. Not yet the fabled clown trio (which would form after Louis’s death in 1909), the Fratellini brothers had nonetheless sowed the seeds of a long association with the Cirque Medrano. &lt;br /&gt;
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There were other clowns in the program, notably Alexandre Pierantoni, formerly of the Nouveau Cirque, &amp;quot;and his auguste&amp;quot;, and comic pantomimes would often be part of the fare&amp;amp;mdash;the first of which was titled ''Le barbier fin-de-siècle'' (&amp;quot;The End-of-Century Barber&amp;quot;). Geronimo Medrano, however, was not performing as a clown anymore: He was now a Circus Director, and would only appear sporadically holding the ''chambrière'' (the Equestrian Master’s long whip), but the show bore his distinctive, joyful stamp. Like its predecessor, the Cirque Medrano gave priority to novelty acts and comedy, and it changed its program partially every week, with performances every night, and matinees on Thursdays, Saturdays, and Holidays. &lt;br /&gt;
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Geronimo Medrano maintained the old open-door policy that Mrs. Fernando had originated for the neighboring artists. The establishment of the legendary ''Bateau-Lavoir'' as an artists’ communal house in Montmartre at the turn of the century would bring another generation of upcoming artists and painters to the Cirque Medrano: Pablo Picasso, Juan Gris, Georges Braque, Henri Matisse, Kees van Dongen, Jean Cocteau, Guillaume Apollinaire, to name but a few. Like their predecessors, they helped keep in the limelight the already fabled &amp;quot;cirque montmartrois&amp;quot; (circus of Montmartre).&lt;br /&gt;
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[[File:Cirque_Medrano_1898.jpg|thumb|450px|left|Cirque Medrano (c.1898)]]Unlike the ambitious and carefree Fernando, Medrano was fiscally conservative. He also knew how to attract good acts at a reasonable price: He was well known and had a good reputation in the business, and his cheerful personality was hard to resist. The circus had shown a positive balance sheet at the end of 1898. In 1899, its gross income had increased by 123,534 Francs. After Fernando’s never-ending financial quandaries, Medrano’s landlord was finally able to put his mind at rest. Meanwhile, that same year, [[Charles Franconi]] closed the venerable Cirque des Champs-Elysées, which had once been Paris’s most fashionable circus.&lt;br /&gt;
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A new [[Hippodrome de la Place Clichy|Hippodrome]] opened its doors in May 1900 on the Place de Clichy, not very far from Medrano. It was supposed to take advantage of Paris’s ''Exposition Universelle'' (World Fair) of 1900, but the Fair didn’t prove a boon for Parisian circuses. A huge arena designed for equestrian spectaculars, the Hippodrome was perhaps too big to be profitable: it would eventually close in 1907. (It was transformed into Europe’s largest movie house, the ''Gaumont Palace''&amp;amp;mdash;the Parisian equivalent of New York’s Radio City Music-Hall.) In 1906, another circus was built on Paris’s Left Bank, Avenue de la Motte-Piquet, the cavernous [[Cirque Métropole]], which would also suffer from its sheer size, but would remain active with various ups and downs until 1930. And there were still, of course, the Cirque d’Hiver and the Nouveau Cirque.&lt;br /&gt;
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Paris had become, and would remain until the 1950s, Europe’s circus capital. In spite of heavy competition, the Cirque Medrano held its own without a flinch, and whereas all its competition would have dark interludes and turn into movie houses or theatres at times, Medrano never ceased being a circus. It had qualities that its rivals couldn’t truly match: Its warmth and intimacy, a lack of pretension that reflected well the personality of its beloved founder, a great variety of offerings, clowns who were allowed to shine in an environment that perfectly suited them, and perhaps for all these reasons, it had fierce supporters. Soon, the circus on the Boulevard de Rochechouart became known simply as &amp;quot;Medrano&amp;quot;: Parisians used to &amp;quot;go to Medrano&amp;quot;&amp;amp;mdash;a household name that had grown to be synonymous with Circus and didn’t need qualifiers.&lt;br /&gt;
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===Change Of Guard===&lt;br /&gt;
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In 1892, while he was still working at the Nouveau Cirque, Geronimo Medrano had married Charlotte Blanche Lippold. They formed a strong couple, even though Blanche was barren and didn’t give Geronimo an heir. On August 18, 1905, after thirteen years of marriage, Blanche Medrano passed away, rather untimely; Geronimo was devastated. He was fifty-six years old (at a time when the average life expectancy for men was around fifty years), he had no successors, and he felt his life had suddenly become pointless. Yet he had a solid support system in his close friends at the circus: The faithful Emilio Maîtrejean, Thomas Hassan, his ''Régisseur'', and &amp;quot;Mr. Emile,&amp;quot; his comptroller (whose last name nobody seems to have remembered). They helped him go through a very difficult period.&lt;br /&gt;
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[[File:Rico_y_Alex.jpeg|thumb|right|300px|Rico &amp;amp; Alex (c.1910)]]His circumstances brightened up in early 1906, when Geronimo found a warm-hearted confidante in Berthe Perrin (1876-1920), a thirty years old seamstress who was twenty-five years his junior. Their friendship eventually developed into an affair and, on May 18, 1907, Berthe gave birth to a son, [[Jérôme Medrano|Jérôme]] (1907-1998). The Medrano line was finally revived, and Geronimo was elated. He married Berthe on June 13, and then legitimized his son. By all accounts, Berthe was a sweet, caring person, but her humble origins and hard life had made her a strong woman who knew how to take care of business. Although she was not a circus person, Berthe Medrano proved to be a good partner to Geronimo. &lt;br /&gt;
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In 1908, Medrano hired a new clown duet, [[Antonet]] &amp;amp; [[Grock]]. Grock had replaced Antonet’s previous partner, the celebrated and immensely creative [[Little Walter]], whose appearance Grock had copied to perform the musical entrée Walter had created with Antonet. The piece, with some additions and much stretching, will make Grock a star. The following year, Louis Fratellini died in Warsaw from a smallpox epidemic, and his brothers, François, Paul and Albert joined forces and formed a clown trio to help support Louis’s widow and large brood. Although these two names, Grock and Fratellini, will long be associated with Medrano, the circus’s stars were then the talented and popular Spanish clowns [[Rico and Alex]] (Briatore), who were featured on the Boulevard de Rochechouart from 1910 to 1914.&lt;br /&gt;
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As Parisians’ favorite clowns, Rico &amp;amp; Alex had successfully supplanted the Nouveau Cirque’s Foottit &amp;amp; Chocolat, whose association was coming to an end. As a matter of fact, Medrano was now the Parisians’ circus of choice. The Cirque d’Hiver had been converted into one of Paris’s worst movie houses in 1907; this was followed for a few months, at the beginning of 1908, by the Cirque Métropole, although it quickly re-opened as a bona-fide circus under a new management (and a new name: ''Cirque de Paris''). As for Medrano, it had dealt smartly with the emerging success of the cinematograph: From 1912 until the end of World War I, its programs ended with a short projection of the &amp;quot;American Vitograph&amp;quot; ''(sic)''&amp;amp;mdash;which morphed into the &amp;quot;Medranograph.&amp;quot; Other acknowledgment of changing times: Geronimo had installed electric lighting. &lt;br /&gt;
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Medrano had become such a famous name around Europe that, in 1912, the Austrian director [[Ludwig Swoboda]] renamed his ''Zirkus Lajos'', [[Circus Medrano-Swoboda|Circus Medrano aus Wien]] (&amp;quot;Vienna’s Circus Medrano&amp;quot;). Since there were no trademark agreements at the time between European countries, ''Medrano'' eventually became a household name in Austria. Although everything was looking good for his circus, it was not the same for Geronimo Medrano. Sometime in late 1910, he had a stroke that left him partially paralyzed. Nonetheless, he bravely continued running his circus until April 27, 1912, when he died suddenly of an attack of uremia; he was sixty-two, and his son, Jérôme, who sadly had had very little time to know his father, was only five years old. Geronimo had bequeathed the Cirque Medrano to him.&lt;br /&gt;
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===Berthe Medrano’s Circus===&lt;br /&gt;
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[[File:Berthe_Medrano,_Jerome_and_Rodolphe_Bonten.jpeg|thumb|400px|left|Berthe &amp;amp; Jérôme Medrano with Rodolphe Bonten (c.1918)]]Geronimo &amp;quot;Boum-Boum&amp;quot; Medrano was inhumed near his first wife, Blanche, after whose death he had commissioned a mausoleum at the nearby ''Cimetière de Montmartre''. A large crowd accompanied him to his last resting place. As for Berthe Medrano, she was intent on preserving their son’s inheritance; without hesitation, she took over the management of the circus that bore her and her son’s name. She left to her late husband’s associates, Emilio Maîtrejean and Thomas Hassan, the care of running the circus’s day-to-day operation, and asked a former acrobat whom she trusted, Rodolphe Bonten, to help her cast the shows. As for the circus’s finances, she took full control. To make things clear, five-year-old Jérôme Medrano, dressed in the traditional blue uniform of the ''régisseurs'', appeared at the ring entrance at some matinees.&lt;br /&gt;
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Berthe Medrano proved a good administrator, and the team that surrounded her was indeed very competent. Business was still going strong. In 1912, the year of Geronimo’s death, the Cirque de Paris had closed again and become a theatre-cum-boxing arena. The political situation in Europe was tense; Kaiser Wilhelm II of Germany was posturing aggressively, and Parisians, who had not forgotten the war of 1870, were on edge. In September 1913, the Nouveau Cirque began its season with matinees only, three days a week, Thursday, Saturday and Sunday. In October, the Cirque de Paris, now known as ''Le Palace'', morphed once again into a movie house. Yet Medrano was still doing well, in spite of the fact that Emilio Maîtrejean, who had been instrumental in its success&amp;amp;mdash;and indeed its very existence&amp;amp;mdash;had decided to retire, to everybody’s chagrin.&lt;br /&gt;
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In the spring of 1914, Rodolphe Bonten hired the new clown trio of François, Paul and Albert Fratellini, who had just been featured with great success at [[Circo Price (Madrid)|Circo Parish]] in Madrid. They didn’t stay long: On June 28, a young Serbian  who was a Yugoslav nationalist assassinated the crown prince of Austria-Hungary, the Archduke Franz Joseph; Austria declared an ultimatum to Serbia, which supported Yugoslavism (the movement for a South Slavic national identity); on July 28, the Austrian army invaded Serbia, which, owing to the intricate web of European alliances, triggered World War I. On August 3, Germany, Austria’s main ally, declared war to France; Paris’s circuses and theatres closed their doors. The Fratellinis returned to Circo Parish, along with Rico &amp;amp; Alex.&lt;br /&gt;
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In December 1914, the Nouveau Cirque reopened. Most theatres, however, remained closed until the beginning of 1915. Then, little by little, they came back to life, including Medrano. Casting the shows had become difficult since a large number of male performers had been drafted, and although the circus is international by essence, the situation made it impossible to tap into the large reservoir of performers from countries that happened to be at war with France.&lt;br /&gt;
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[[File:Fratellini_Trio_(1932).jpeg|thumb|right|450px|The Fratellinis (1932)]]Like the majority of their colleagues, the Fratellinis disliked William Parish, the owner of Madrid’s Circo Parish (the old [[Circo Price (Madrid)|Circo Price]]), and they let Bonten know that they were available and ready to come back to Paris. Between the three of them and their late brother Louis, they had a large family to support, and their nationality was perhaps a little too difficult to sort out (Paul was born in Sicily, François in Paris, and Albert in Moscow): They were exempt from military service. Bonten jumped on the opportunity.&lt;br /&gt;
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The Fratellinis were not only extremely talented, they also offered something new: A clown trio. Until then, clowns had worked solo, or as a clown/auguste team, like Foottit &amp;amp; Chocolat and many others after them. To the traditional duet of François (the clown, charmingly light and graceful) and Paul (a ridiculous and bombastic auguste), they had added Albert, who had developed an extravagant and phantasmagoric auguste character that injected a good dose of mirthful surrealism in everything the brothers did. Additionally, they had a vast repertoire of classic entrées and musical interludes to which the unusual composition of their team&amp;amp;mdash;and their imagination&amp;amp;mdash;added a veneer of novelty.&lt;br /&gt;
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At a time when Parisians needed to escape the daily reality of a war with no end in sight, Medrano was the place to go: It always had good clowns to bring smiles on anyone’s face in a warm and familiar atmosphere&amp;amp;mdash;but the Fratellinis delivered even more: A total escape into a hilarious world of pure fantasy. They quickly become the talk of Paris, and Medrano being the circus it was, journalists, artists, writers, and Paris literati in general transformed the trio into stars of first magnitude. In time, Fernand Léger and a host of painters immortalized them, journalists chronicled their every move, writers wrote essays and books about them, their likeness was used in advertising, and their fame eventually (after the war) crossed the borders. Medrano collected the fruits of their glory.&lt;br /&gt;
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===The Bonten Era===&lt;br /&gt;
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When World War I came to an end on November 11, 1918, Medrano entered an era of great prosperity. The Cirque d’Hiver and the Cirque de Paris were inactive, and the Nouveau Cirque was desperately trying to survive. Medrano had become &amp;quot;Le cirque de Paris&amp;quot; (&amp;quot;Paris’s own circus&amp;quot;), a label it will keep as its slogan until the end. Fernand Léger (1881-1955) exhibited his neo-cubist painting ''Le Cirque Medrano'', the first of a series of works on the circus. The Fratellinis were still Paris’s ''enfants chéris'' (favorite children), and they still attracted crowds to the Boulevard de Rochechouart; habitués returned every week to see what new entrée these very imaginative clowns were going to offer. &lt;br /&gt;
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[[File:Dario-Bario-Rhum.jpg|thumb|left|400px|Bario, Dario &amp;amp; Rhum]]Yet all was not well. Berthe Medrano was ill; she was diagnosed with cancer. In January 1918, she transferred the management of the circus to her faithful and capable right-hand man, Rodolphe Bonten, and went to rest in a villa she had bought in Nice, on the French Riviera. Jérôme was eleven, and she had to secure his education and his future: The circus was his, and Berthe wanted to ensure that it would remain so.  Upon her return to the capital, she had a long discussion with Bonten. On June 20, 1918, Rodolphe Bonten and Berthe Medrano were married in the 9th Arrondissement's City-Hall of Paris. It was indeed a marriage of convenience: Rodolphe, as Jérôme’s stepfather, would become his legal guardian, and for the time being, with or without Berthe, the Cirque Medrano would remain a family affair.&lt;br /&gt;
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Rodolphe Bonten was basically a honest man, devoid of ostentation and personal ambitions, and a capable director. Artistically, he was not overly imaginative, but he knew what worked for Medrano, and the circus continued to flourish under his reign. His only flaw, according to [[Festival Mondial du Cirque de Demain|Louis Merlin]], who was an habitué of Medrano, was his habit to play nervously with the coins in his pants’ pockets each time he watched an attractive female performer in the ring. If he had a good eye for pretty girls, he also had a good eye for outstanding acts&amp;amp;mdash;as well as for clowns: Beside the Fratellini, such legendary clowns as [[Antonet]] &amp;amp; [[Béby Frediani|Béby]], the [[Dario-Bario|Dario-Barios]], [[Porto]], and [[Rhum]] came to grace Medrano’s ring under his tenure, and became bona-fide stars of the Parisian circus.&lt;br /&gt;
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Berthe Medrano finally passed away on August 30, 1920, leaving to Rodolphe Bonten the responsibility of the circus&amp;amp;mdash;and of her son, who was orphaned at the age of thirteen. Berthe was buried near Geronimo at the ''Cimetière de Montmartre'', and Bonten became de facto Jérôme’s tutor; to his credit, he made sure that Jérôme receive an excellent education in the best possible schools. Bonten also took Jérôme on circus trips during school recesses, but although they both lived in the circus’s apartment and Jérôme was thus immersed into circus life, Bonten didn’t try to involve him in any aspect of the circus’s affairs. Like many kids orphaned in adolescence, Jérôme resented a stepfather that only fate had imposed on him&amp;amp;mdash;and who apparently didn’t provide him with the kind of parental affection and interest he craved. &lt;br /&gt;
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Yet, Bonten ensured that Jérôme’s circus continued to thrive. In 1921, the Cirque de Paris reopened at last as a circus under a new management. In 1923, [[Gaston Desprez]] took the lease of the Cirque d’Hiver, and revived it successfully as the major circus it had been. Then, in 1924, Oscar Dufresne and Henri Varna transformed the large [[Empire Music-Hall Cirque|Théâtre de l’Empire]] into a &amp;quot;Music-Hall Cirque&amp;quot;, a variety house with an emphasis on circus acts, on the model of the famous Wintergarten variety theatre in Berlin. There were now five active circuses in Paris (if one includes the Empire, which was playing on the same turf). Although the Nouveau-Cirque and the Cirque de Paris didn’t present a big threat to Medrano, the Cirque d’Hiver and the Empire quickly became serious contenders. Medrano still had the Fratellinis, who had a huge success in 1923 with a comic pantomime, ''Les tribulations d’un travailleur'' (&amp;quot;A Workman’s Trials&amp;quot;)&amp;amp;mdash;but not for long. &lt;br /&gt;
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[[File:The_Cairolis_c1930.jpg|thumb|righ|400px|Porto, Cairoli &amp;amp; Carletto]]At the end of the 1924 season, the Fratellinis asked Bonten for a raise. Bonten made a very ill-advised move: He refused to change their contract; Gaston Desprez jumped on the opportunity and offered them what they asked and more: He made them Artistic Directors of the Cirque d’Hiver&amp;amp;mdash;a purely honorific title, but which was very good publicity. Although the Fratellinis wouldn’t find at the Cirque d’Hiver the type of audience they had had at Medrano (in terms of quality and prestige), they were nonetheless extremely popular, and Desprez had realized a major coup.  Bonten saw the evidence of his mistake at the beginning of the 1924-1925 season when Medrano’s box office receipts showed a significant decline.&lt;br /&gt;
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Some relief came in April 1926 when the ailing Nouveau Cirque finally shut down&amp;amp;mdash;although its closing probably profited the Cirque d’Hiver more than Medrano. Meanwhile, Jérôme Medrano was doing his mandatory military service at Saint-Cyr l’École, near Paris. The following year, Grock was starring at the Empire (he had long left the circus ring for the much more lucrative variety stage), while Medrano launched two new clown trios, the Dario-Barios, who had adjoined to their group the remarkably talented auguste, Rhum, and [[Jean-Marie Cairoli|Cairoli]], [[Porto]] &amp;amp; [[Charlie Cairoli|Carletto]]. Medrano was still the ideal place to showcase talented clowns, and if it had lost the Fratellinis, the circus had a faithful audience that truly appreciated good clowning&amp;amp;mdash;which the Dario-Barios and the Cairolis indeed delivered&amp;amp;mdash;and  still filled its seats to have a good time.&lt;br /&gt;
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Then, on May 18, 1928, Jérôme Medrano reached his majority. He had previously claimed to wish to continue his studies and become a Merchant Navy officer. But suddenly everything changed, rather drastically. On June 4, to everyone’s surprise (Jerôme himself admitted later that it was on a whim), he married the beautiful Rachel Baquet, whose father was the [[Cirque Palisse]]’s general manager and owned a café near the circus; Mr. Baquet was also in charge of Medrano’s bar and concessions. &lt;br /&gt;
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Then, just ten days later, on June 14, 1928, Jérôme Medrano took officially possession of his circus, and dismissed Rodolphe Bonten, to whom he offered a generous severance pay. Bonten, certainly a little shaken, disappeared from the circus scene. Before anyone could take a breath, Jérôme was fully in charge and the Cirque Medrano was entering a new era. He made his new wife, Rachel, co-director (she too had been born into the circus, and her family could lend some help) and the press dubbed the young couple, &amp;quot;Europe’s youngest circus directors.&amp;quot;&lt;br /&gt;
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===Enter Jérôme Medrano===&lt;br /&gt;
Along with [[Bertram Mills]] and his sons [[Cyril Mills|Cyril and Bernard]] in England, [[John Ringling North]] in the United States, and before them, [[Hans Stosch-Sarrasani|Hans Stosch]] in Germany, Jérôme Medrano belonged to an unconventional breed of circus directors that had received a solid academic education, and whose cultural interests and social connections expanded outside the circus world&amp;amp;mdash;but who showed a genuine enthusiasm for the circus that was triggered by a mixture of vested interest and artistic inclination. They would change the image of the circus in their respective countries and beyond.&lt;br /&gt;
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[[File:Jerome_Medrano.jpeg|thumb|left|300px|Jérôme Medrano (c.1952)]]Jérôme Medrano inherited a business in good shape, artistically successful and fiscally stable&amp;amp;mdash;conditions for which Berthe Medrano and Rodolphe Bonten can be commended. Although he had spent his childhood and most of his adolescence within the walls of his circus, Jérôme didn’t know much about its day-to-day management&amp;amp;mdash;although he was of course quickly made aware of the peculiar situation of its physical ownership. Even so, Jérôme set about working and began by honoring all the contracts signed by his stepfather for the upcoming season (which included, as usual, some of the best artists&amp;amp;mdash;and clowns&amp;amp;mdash;in the business). &lt;br /&gt;
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Jérôme would have a hard time, however, coming to terms with Bonten’s foolish dismissal of the Fratellinis, whom he had known since childhood, and was not adverse to giving it as a good reason for his stepfather’s dismissal. Meanwhile, he surrounded himself with a mixture of old Medrano collaborators, such as Thomas Hassan, the circus’s ''Régisseur'', and newcomers such as the well-known journalist and circus chronicler André Legrand-Chabrier, who, as ''Secrétaire Général'' of the circus, took over Press and Public Relations. The latter’s appointment to a key position that was customary in Parisian theatres but not in the circus was the first sign of a new managerial style.&lt;br /&gt;
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Unlike most of his circus colleagues, who relied heavily on agents to find new talent, Jérôme Medrano would regularly visit Europe’s and America’s major circus and variety shows, and do his own talent search. In January 1929, as the Medrano season ran steadily on its rails, Jérôme and Rachel Medrano went to Berlin to visit the famous WinterGarten, where some of the best circus and variety acts of the time could be seen. Then they made a stop in Gottingen to see the fabled [[Circus Sarrasani]] and meet with its legendary director, Hans Stosch-Sarrasani. The giant German circus’s innovative organization, its technical achievements, and its spectacular show duly impressed the Medranos. After his visit, Jérôme was in the opinion that Sarrasani was perfection, the model after which all traveling circuses should be run. His discovery of Sarrasani would serve him later. &lt;br /&gt;
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After the end of the 1928-29 Season in June, the circus building was entirely refurbished. Everything was painted anew, and Barbier-Daumont, a decorator well known in the theatre community, painted a series of frescoes on the periphery of the house, which depicted scenes of the life of traveling circus folks. Jérôme had also four cabins installed on the lower roof of the building to house spotlights and their operators, and a fifth one was installed in the foyer, where the projector of the old &amp;quot;Médranographe&amp;quot; used to be. Elie Anatole Pavil (1873-1948) was commissioned two large paintings: the first one, representing traveling entertainers parading on a fairground stage, welcomed the guests in the entrance lobby; the other one, picturing Paris’s most famous circus and variety critics, was displayed behind the new bar installed backstage. &lt;br /&gt;
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When the circus reopened on September 9, 1929, its program had been entirely conceived by Jérôme Medrano. It was a true Parisian event attended by the ''Tout-Paris''&amp;amp;mdash;journalists and major critics, press and industry magnates, theater stars and producers, renowned novelists and authors, publicity-hungry politicians, and everyone else with a name. The show featured a bounty of remarkable acts, including a spectacular ten-person bar-to-bar flying act on two porticos placed in cross, created especially for Medrano by [[Edmond Rainat]], and an eighteen-horse liberty act presented by [[The Schumann Dynasty|Ernst Schumann]]. The clowns were [[Charley-William Ilès|Ilès]] &amp;amp; [[Emile-Paul Loyal|Loyal]], and the trio Caïroli, Porto &amp;amp; Carletto, who had just signed a long-term contract. &lt;br /&gt;
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At the end of the evening, in the ring, Thomas Hassan was made ''Officier de l’Instruction Publique'' (which has thankfully been replaced since by the ''Ordre des Arts et Lettres'', a more suitable distinction!). It was indeed a night to remember: Jérôme’s &amp;quot;New Medrano&amp;quot; was launched!&lt;br /&gt;
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===Medrano’s Golden Age===&lt;br /&gt;
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Jérôme Medrano’s revamped circus emerged as a contemporary place of entertainment, where a fast-paced show with top-shelf acts was presented in the best possible light&amp;amp;mdash;which can be taken literally, since acts were often isolated in spotlights instead of being presented in full light, as had been the norm since the gas chandeliers. Of course there were some old-timers who waxed nostalgic, complaining that the circus had lost its original atmosphere and the show looked like a ''music-hall'' (variety) production instead of the age-old circus presentation they had expected. Yet this change of style was precisely what brought back around Medrano’s ring a new, younger and more sophisticated audience that had hitherto shifted its interest from the circus to the more fashionable variety stage.&lt;br /&gt;
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[[File:Vesque_Rastelli_1930.jpg|thumb|right|350px|Enrico Rastelli by M.J. Vesque (1930)]]Jérôme Medrano, who had spent time among the well-educated and affluent youth of his generation (notably at the exclusive École des Roches), was well aware of this shift. He also intended to bring back to Medrano top circus acts that had deserted the ring for the comfortable and lucrative varieties. The clown Grock, who had learnt most of his craft at Medrano and whom Jérôme had known since childhood, had become a major international star on the variety circuit&amp;amp;mdash;a status among clowns that only the Fratellinis had acquired in the circus ring, albeit without the financial rewards. Working now exclusively on stage, Grock had become a wealthy man, and several other top performers made a much better living in variety theatres than they had done in the circus.&lt;br /&gt;
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Jérôme had not been raised as a circus insider, taught to believe in the circus world’s unspoken law proclaiming that artists should accept relatively low wages if they wanted work and, more often than not, harsh working conditions. Top circus acts that could work for more money and in more comfortable surroundings in variety theatres had obviously ceased to believe in these old tenets, a fact Jérôme had indeed noticed&amp;amp;mdash;even though some of his more &amp;quot;circus-savvy&amp;quot; colleagues had not. In February 1930, he signed his first contract with Grock, offering him the price and conditions he had enjoyed at the Empire, where he had appeared regularly as a headliner. It was an expensive proposition, but Grock’s act was about forty minutes long, which would have required four or five individual acts to replace anyway&amp;amp;mdash;and his name alone was sure to sell tickets. &lt;br /&gt;
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Grock was very much in demand all over Europe, so his Medrano debut had to wait until January 1931. Although Grock’s agent was his brother-in-law, Dante Ospiri, negotiations had been held on a very personal level between Jérôme and Grock. Nonetheless, Jérôme had appreciated Ospiri’s business style, and hired him as Medrano’s booking agent.  In April 1930, the great Portuguese equestrian [[Roberto de Vasconcellos]] was featured at Medrano. Vasconcellos, who was new to the circus, didn’t like to handle his own engagements, and he signed a ten-year contract with Jérôme, in effect making him his exclusive manager and agent. At the outbreak of WWII, Jérôme would send Vasconcellos to [[Ringling Bros. and Barnum &amp;amp; Bailey]] Circus in the United States, where the famous equestrian became a long-time fixture.&lt;br /&gt;
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The 1930-31 Season opened with the return to Medrano of the clowns Antonet &amp;amp; Béby, and in October, the world’s greatest juggler, the legendary [[Enrico Rastelli]], was the star of the show for the next five weeks. Although he was born in a circus family, the phenomenal Rastelli had long switched to the variety stage, where he enjoyed top-billing&amp;amp;mdash;and top money. It was the first time he had appeared in a circus ring in France. Medrano’s always-efficient press department made it an exceptional event, and crowds filled the seats to see Rastelli in the ring. Jérôme immediately signed him for a return engagement the next season. Another coup was, in December, the first appearance in a circus ring of the American transvestite trapeze and tight-wire artist [[Barbette]], one of the brightest and most talked-about stars of the variety stage, who was all the rage then, and the darling of Paris’s homosexual elite led by Jean Cocteau. Meanwhile, in June 1930, the ailing Cirque de Paris shut its doors for the last time.&lt;br /&gt;
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Grock made at last his first star appearance at Medrano in January-February 1931 (&amp;quot;For the first time on a circus ring in 23 years!&amp;quot; said the printed program), selling out for his full run of five weeks. Jérôme’s policy was proven right: He made a good profit in spite of the cost of hiring such expensive variety acts, and, most importantly, he brought to his Parisian circus a new audience that found at Medrano the same quality of presentation they experienced in the best variety theaters. They discovered in the process clowns and other variety acts they had never seen on stage, some of whom they quickly adopted as their new favorites. Jérôme was creating a modern-day following as well as a fresh crop of circus stars. &lt;br /&gt;
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[[File:Barbette_by_Gesmar.jpg|thumb|left|350px|Barbette by Charles Gesmar (1926)]]The 1931-32 season also saw the debut of [[The Loyal Dynasty|Georges Loyal]] as ''Régisseur de piste'' (Ringmaster); he would remain at Medrano until 1939. Over the years, there had been several members of the vast Loyal family acting as ''Régisseur'' in various Parisian circuses, and somehow, &amp;quot;Monsieur Loyal&amp;quot; was often cited as an ideal illustration of the traditional Ringmaster. However, this was Medrano: The ''Régisseur'' was more than a Ringmaster and a presenter; he was the clowns’ straight man, and for eight long years, all Medrano’s star-clowns&amp;amp;mdash;and they were many&amp;amp;mdash;interacted with Georges Loyal in the ring, respectfully addressing him, of course, as &amp;quot;Monsieur Loyal.&amp;quot; The name, which already defined the function, finally stuck to it&amp;amp;mdash;to such an extent that, in time, all French ringmasters became known as &amp;quot;Monsieur Loyal,&amp;quot; and the term ''Monsieur Loyal'' has become today the French generic term for ''Ringmaster''. &lt;br /&gt;
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Everything was going well, but Jérôme was concerned by the situation of his circus building, of which he was still just the tenant&amp;amp;mdash;albeit without any constraints as long as he paid his rent. At some point, the circus had become the property of the Saint family, a rich and powerful family of French industrialists that ran the Saint Frères company, France’s foremost hessian manufacturers, makers of ropes, canvas covers, tarpaulins, tents and even circus big tops. Roger Saint, who was in charge of the family’s holdings, informed Jérôme that the property was divided between members of the family, most of whom, satisfied with the steady income it provided, were unwilling to sell. Since the rent was relatively low, and the family was in no way interfering in his business, Jérôme had to be content with the situation.&lt;br /&gt;
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In May of 1930, Jérôme Medrano made his first trip to New York, where he met up with his closest friend, Maurice Chevalier, the popular French singer who had become a Hollywood film star. They visited [[Ringling Bros. and Barnum &amp;amp; Bailey]] Circus, which was showing at Madison Square Garden; Jérôme met [[John Ringling North]], a circus director of his generation and with a similar background. For years to come, there would be a constant flow of acts between Medrano and Ringling. Then Chevalier took Jérôme to Hollywood, where Jérôme (who was a huge cinema enthusiast) established contacts he would use later. Meanwhile, in August, a new lighting system was installed in the circus, including modern projectors affixed on the columns around the house, equipped with rolling gels that allowed changing their color automatically. It was true theatrical lighting, hitherto unheard of in the circus world. &lt;br /&gt;
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Then, during a scouting trip to Italy in 1931, Jérôme discovered a little-known Italian circus family whose members were exceptional equestrians, able to present a large variety of acts. He signed the [[The Cristiani Family|Cristiani family]] for the entire 1931-32 Season. John Ringling North saw them there, and two years later, the Cristianis went to work with Ringling Bros. in the United States, where they settled and eventually created their own circus. That season also saw the emergence of the auguste Rhum as a major clown star, and the tight-wire somersaulter [[Con Colleano]] made a profound impact and became the new talk of the town. [[The Andreu-Rivels]], with [[Charlie Rivel]]’s impersonation of Charlie Chaplin on the flying trapeze, were another hit that season. At the end of February, Medrano presented a revue, ''La Revue de Medrano'', with music by Maurice Yvain (1891-1945), which ran successfully for five weeks, before the return of Grock in April. It was a very good season.&lt;br /&gt;
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===Innovations And Expansion===&lt;br /&gt;
In September 1932, [[Jean Coupan]] left the Cirque d’Hiver and replaced André Legrand-Chabrier as Medrano’s ''Secrétaire Général'': For someone of Coupan’s imagination and energy, Medrano was indeed the place to be. The new season was one of innovations. It saw the creation of the ''Club des Amis de Medrano'' (Friends of Medrano Association), the embryo of a circus school for children aged eight and up, which proved very popular. The well-known circus collector Maurice Thomas-Moret organized exhibitions of rare prints and objects from of his outstanding collection in the circus’s foyer.&lt;br /&gt;
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Medrano’s printed program became a magazine, with articles chronicling the circus and the major artists of each new show (which was now renewed every two weeks); Louis Merlin produced a regular radio broadcast from Medrano, mirroring the magazine, with interviews and news. To many circus cognoscenti, Medrano had become an exclusive club where they met around the ring, and in the foyer amidst Thomas-Moret’s treasures. Medrano was definitely not an ordinary circus.&lt;br /&gt;
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In November, for the first time since the Nouveau Cirque’s demise, Medrano presented a water pantomime, ''Le Cirque sous l’Eau'', with an army of clowns, beautiful naiades in an aquatic ballet, and a battalion of sixteen showgirls. The pool equipment had been rented from the famous lion trainer [[Alfred Schneider]]’s circus in Germany. ''Le Cirque sous l’Eau'' ran successfully for three months. The legendary equestrienne [[Therese Renz]] (who was seventy-three and had not been seen in Paris since 1900!), the superlative Russian juggler [[Massimiliano Truzzi]], and Con Colleano were among the 1932-33 Season’s highlights. &lt;br /&gt;
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[[File:Medrano_Construction.jpeg|thumb|right|450px|Medrano Construction (1932)]]The year 1932 was another landmark year for Jérôme Medrano: Through his father in law, he had purchased the semi-construction of [[Alexandre Palisse]], who had just passed away. On September 30, 1932, he re-launched it as the itinerant Cirque Medrano in the port city of Le Havre. It was an elegant and surprisingly comfortable construction that was built to travel easily&amp;amp;mdash;probably the best traveling construction in Europe after Sarrasani’s. It was heated, had a good lighting system, a coco mat in the ring, and was elegantly furbished with theatre folding seats, as in its Paris counterpart. It was perfect to represent the illustrious Parisian circus in large provincial cities, where the construction was erected for two weeks to one month on the occasion of large regional fairs.&lt;br /&gt;
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Jérôme ensured that the itinerant Medrano’s program reflected the quality of his Parisian shows. The inaugural production included the clowns Dario-Bario, the famous bar-to-bar flying act of the Zemgannos, the American acrobatic dancer [[Barbara La May]], the spectacular jockey act of the [[Ricono-Strula Troupe|Ricono-Strulas]], and other acts of the same caliber. The Medrano construction toured every year until the end of 1937, and kept the route established by Palisse, visiting the same cities at the same periods, and thus building a faithful provincial audience. &lt;br /&gt;
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In 1937, the Medrano construction starred Grock. However, Grock was not as adulated in the French provinces as he was in European capitals such as Paris, Berlin or London&amp;amp;mdash;or in Germany, the country of his greatest triumphs. The tour didn’t meet expectations, and Grock, who got a percentage of the receipts and was not used to performing in front of empty seats (even if they were few), broke his contract before the end of the tour. Still, this disappointment was not what led Jérôme to abandon the construction at the end of the season. Its closing is related to another, unfortunately short-lived touring venture, and perhaps the most promising of Jérôme Medrano’s projects, the tenting show known as &amp;quot;Medrano Voyageur&amp;quot; (Traveling Medrano).&lt;br /&gt;
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===Medrano Voyageur===&lt;br /&gt;
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The Medrano construction had allowed Jérôme Medrano to make his circus known out of the confines of the French capital. However, he had succeeded in the limited market of only a few major cities: The construction was not conceived for quick moves and short stays, and its outreach remained therefore limited. Jérôme wanted to make Medrano a household name all over the country, and in 1935, with this in mind, he laid out plans for a modern tenting show, built on the model of what he considered Europe’s best and most advanced touring circus, Circus Sarrasani. &lt;br /&gt;
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[[File:Cirque_Medrano_Voyageur_1936.jpeg|thumb|450px|left|Medrano Voyageur by M.J. Vesque (1936)]]The idea may have come one year earlier, when Gaston Desprez, the Cirque d’Hiver’s lessee, lost his job, his lease, and put the equipment of his [[Cirque Fratellini]] for sale. Jérôme eventually acquired it at a good price; it needed serious refreshing, which was not a major problem, but the big top was in poor shape, so Jérôme ordered a new one from Europe’s premier tentmaker, Stromeyer in Constanz, Germany&amp;amp;mdash;Sarrasani’s supplier. Jérôme had wanted to adopt the new tent design introduced by Sarrasani, a round big top with four poles in square, but his advisers (the Baquet family, who had the traveling circus knowledge he didn’t have) dissuaded him to do so, arguing that too many places in France wouldn’t be wide enough to accommodate a large round big top. So Jérôme settled for an elongated tent, a classic four-pole in line. &lt;br /&gt;
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The new Medrano Voyageur sported a white big top with the name Medrano written in red letters on each side, and a colorful &amp;quot;rainbow&amp;quot; façade&amp;amp;mdash;not as imposing as Sarrasani’s, but nonetheless spectacular enough to impress French audiences. The rolling stock was painted red, with a diagonal yellow band on the flanks with ''Medrano'' in red letters. The fencing, too, was painted red and yellow, and there was a powerful hot-air generator to heat the tent in the cold season. Everything was immaculate: The ring and house crews were dressed in resplendent red uniforms adorned with gold trimmings, and even the tent crew wore uniform overalls, with the name Medrano on their back. Unlike Sarrasani, though, the circus traveled by rail.&lt;br /&gt;
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More noteworthy however, was the setup inside the tent: there was a stage behind the ring, and the 20-piece band was installed in an &amp;quot;orchestra pit&amp;quot; between the stage and the ring. The ring entrances were located at each side of the stage. This was a very original setting&amp;amp;mdash;although not that different from the old [[Astley’s Amphitheatre]] or [[Royal Circus]] buildings in London in the 1780s! This configuration allowed a fast-paced show (a obsession shared by Jérôme Medrano and [[Cyril Mills]]), with acts or intermezzi performed on stage during ring changes, and acts exiting the ring on one side, while others entered on the other. &lt;br /&gt;
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The show opened Porte d’Auteuil, in Paris, on February 26, 1936. The program offered the high quality that was expected from Medrano: Headliners such as the tiger trainer [[Togare]] (&amp;quot;The Valentino of the Ring&amp;quot;), the clowns Cairoli, Porto &amp;amp; Carletto, the [[Clérans]], then the hottest aerial act on the market, [[The Rancy Dynasty|Henry Rancy]]’s equestrian acts, and several large acrobatic troupes&amp;amp;mdash;among many others top attractions.  Opening night was a huge success duly hailed by Parisian critics, and the long provincial tour that followed was rewarding, with a succession of sold-out houses in major cities such as Lyon and Marseilles. &lt;br /&gt;
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[[File:Togare_-_Medrano.jpeg|thumb|450px|right|Togare (1937)]]Rachel Medrano’s family held key-positions within the traveling units. The attractive young co-director, however, had what the French called a ''temperament''; her marriage to Jérôme had been a hurried affair that had not been built on solid foundations. There were rumors of Rachel’s indiscretions, which apparently increased when the tenting show offered her an escape from the Paris building and her husband. She found a relative freedom during her escapades to Medrano Voyageur, where she probably felt safe among her own family. Jérôme probably had his own affairs&amp;amp;mdash;albeit more discretely. Rachel and Jérôme’s marriage was quickly disintegrating.&lt;br /&gt;
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In this poisonous atmosphere, Medrano Voyageur began its second season on February 20, 1937, with the Fratellinis, now back to Medrano, heading a copious program that included the celebrated cat trainer [[Vojteck Trubka]] in his French debut, the flying trapeze act of the Zemgannos, the [[Circus Carré|Carrés]]’ horse acts form The Netherlands, and as a special attraction, the track-and-field champion racer, Jules Ladoumègue&amp;amp;mdash;a French sport hero&amp;amp;mdash;who raced around the ring against a horse. Business continued to be good, and Radio Luxembourg, one of Europe’s first commercial radio stations, broadcast a four-part radio documentary on the daily life at Medrano Voyageur. &lt;br /&gt;
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Yet Jérôme noticed that the box-office statements didn’t always match what he saw in the house; obviously the Baquets cooked the books, and part of the income was diverted into their pockets. Jérôme Medrano was a man of impulse, as he had already shown when he married Rachel and fired Rodolphe Bonten. He proved it once more: On August 5, he suddenly showed up on the circus lot, fired his management staff (most of whom were Baquet’s people), and closed the circus in mid-tour. &lt;br /&gt;
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The performers were let go, and Medrano Voyageur returned to its winter quarters in Saint-Denis, near Paris. Six months later, in January 1938, after its last contracted performance in Marseilles, Jérôme also closed the construction. Both circuses’ equipments were put for sale. As for Rachel, she packed and left the Rue des Martyrs’ apartment. The marriage was over.&lt;br /&gt;
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===Before The Storm===&lt;br /&gt;
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Jérôme was now free to focus his attention exclusively on his Parisian circus. The circus landscape had begun to change significantly: In 1933, Gaston Desprez had added to the Cirque d’Hiver’s ring a water basin comparable to the Nouveau Cirque’s ''piste nautique''. It had been a major expenditure, unfortunately followed by a string of expensive pantomimes starring the Fratellinis, the box-office returns of which were not substantial enough to cover not only their cost, but also the debt incurred by the water basin.  In June 1934, the debt-ridden ''Société du Cirque d’Hiver'' let go Gaston Desprez, and the Cirque d’Hiver’s lease was up for grab to the highest bidder.  &lt;br /&gt;
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[[File:Medrano_by_night.jpeg|thumb|left|300px|Medrano by night (1938)]]The brothers [[Cirque Amar|Amar]], who were well known in Paris and owned France’s premier traveling circus, had begun negotiations, but they were short-circuited by the [[The Bouglione Family|Bouglione family]], who had started on the fairgrounds with a traveling menagerie (like the Amars), before making a fortune with a fake ''Cirque Buffalo-Bill'' that propelled them to the forefront of the French circus scene. Thus the Cirque d’Hiver reopened for the 1934-35 season under Bouglione management, and the Fratellinis, who were not part of the deal, became free agents. &lt;br /&gt;
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Not to be outdone, the Amars took the management of the Empire Theatre the following year (1936). These events were not of Jérôme’s immediate concern. Medrano continued to present star variety acts rarely seen in a circus ring, such as [[Joe Jackson]], &amp;quot;The Bicycle Thief,&amp;quot; or to reveal extraordinary performers making their Parisian (and French) debut, such as the Indian bouncing-rope acrobat [[Kannan Bombayo]]. &lt;br /&gt;
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In June 1934, Jérôme installed new, more comfortable seats, similar to those used in movie houses. Clowns, as always, remained Medrano’s main drawing card; in 1936, Medrano offered a comic pantomime, ''Rhum à Rome'' (&amp;quot;Rhum in Rome&amp;quot;), featuring the celebrated auguste Rhum, his partner, the clown [[Manetti]], and another popular clown duet, [[Alex Bugny|Alex]] and [[Porto]]. The piece also featured the dazzling Bluebell Girls, who, after World War II, would become the iconic drill-dancing team of the legendary Lido of Paris.&lt;br /&gt;
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Jérôme lured the Fratellinis back to Medrano for the 1936-37 Season&amp;amp;mdash;a major circus event&amp;amp;mdash;and he hired Jean Granier, a popular ''chansonnier'' (a typically Parisian stand-up comedian/lyricist/singer with a bent for topical&amp;amp;mdash;and political&amp;amp;mdash;jokes), to present the acts with little texts, and cover the changes in the ring (performed in the dark) with an assortment of wisecracks. It was the first blueprint of the style adopted afterward by French ringmasters. &lt;br /&gt;
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Later, a speaking ''auguste de soirée'' (such as [[Boulicot]] or [[Loriot]]) would exchange quips with the host, establishing a tradition that would be emulated by other circuses. The first of these speaking duets was [[Emile Recordier|Recordier]], a former journalist, who replaced Jean Granier the following season, along with the auguste Boulicot: They made their debut together in the ring after having been a popular fixture of the Empire’s stage for many years. The true Ringmaster (or ''Régisseur'') was still Georges Loyal, but Recordier &amp;amp; Bouliucot helped define Medrano’s hosting style.&lt;br /&gt;
In the summer of 1938, a major revamping of the house was carried out: The boxes and the foyer behind them were suppressed, and the space so created was filled with additional seats. Likewise, the old “promenoir” at the back of the house disappeared to give way to an extra row of seats. The house capacity in premium seats was thus substantially increased, which would result in a necessary higher income when a show was successful, which happened relatively often. &lt;br /&gt;
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[[File:Medrano_Program_Cover_1938.jpg|thumb|right|300px|Prigram Cover by Jean Mercier (1938)]]Yet, the fear of a possible war with Germany was mounting, and by 1938, business had begun to suffer. The Amar brothers had left the Empire Theatre, which became an operetta theatre at the beginning of 1939. After the disappointing tour of his brother-in-law Grock, Dante Ospiri, Medrano’s booking agent, left the circus and was replaced by Emile Audiffred and Félix Marouani, who ran a well-known talent agency (and represented Jérôme’s friend, Maurice Chevalier). To renew the audience’s interest without investing too much money, Recordier came with the idea of another comic pantomime for Rhum, ''On a enlevé la Femme à Barbe'' (&amp;quot;The Bearded Lady has been abducted”). It was a huge success.&lt;br /&gt;
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In November 1938, Jérôme attended the Jubilee of Berlin’s WinterGarten, where he had the dubious privilege of being introduced to Adolph Hitler. The following month, the Fratellinis were back to Medrano, and in January 1939, Jérôme experimented by introducing to the ring the The Peter Sisters, a trio of heavy-set Black American jazz singers and tap dancers, whom he had discovered in the United States: They obtained a triumph. (They would return after the War, and eventually settle in Paris.) &lt;br /&gt;
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They were followed by a circus operetta written by Emile Recordier with music by Vincent Scotto (1876-1952), ''Le Fils de Buffalo-Bill'' (&amp;quot;Buffalo Bill’s Son&amp;quot;). It had the largest cast ever seen at Medrano: 105 artists, including a crowd of extras and the 16 Helena Stars, a troupe of English showgirls. All these, plus a great number of props that included a full Western train crossing the ring, must have made the already confined dressing rooms and backstage area of Medrano more cramped than ever. In spite of the presence of the upcoming singer (and former Olympian) Clément Duhour, the success was only mediocre.  &lt;br /&gt;
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In May 1939, Félix Vitry replaced Jean Coupan as Medrano’s ''Secrétaire Général''. Vitry would eventually run his own publicity agency, but he took care of Medrano's marketing and public relations until 1958. Meanwhile, Jérôme sailed back to the United States and met with Zeppo Marx, the brother of Groucho, Chico and Harpo Marx, in Los Angeles. Zeppo ran a major talent agency in Hollywood and represented the Marx Brothers; they discussed a possible engagement of the celebrated comic trio, but the brothers were reluctant, and the situation in Europe certainly didn’t stir up their interest. &lt;br /&gt;
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While in Hollywood, Jérôme also met with Stan Laurel to sign him and his partner, Oliver Hardy; Laurel showed interest, but the negotiations were left pending for the same, now unavoidable reasons: The European situation made them hesitant to sign a contract in France. Jérôme eventually managed to sign the former Hollywood cowboy star [[Tom Mix]], who had extensive circus credentials (including as circus owner), but it was a bitter-sweet victory: Germany invaded Poland on September 1, 1939, immediately prompting Great Britain, France and their European allies to declare war on Germany. World War II had started, and Tom Mix’s contract was nullified.&lt;br /&gt;
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===The War Years===&lt;br /&gt;
Jérôme Medrano was mobilized one week later. To avoid the closure of his circus, he sublet it to Audiffred and Marouani, who took over its management. However, in May 1940, the Germans began their invasion of France, and Medrano closed its doors. On June 14, 1940 they occupied Paris. In this tragic atmosphere, the death of Paul Fratellini, on June 18, went completely unnoticed. Félix Marouani, who was Jewish, had already taken refuge in the South of France, which was not occupied, but Emile Audiffred also chose to leave Paris. The Saint family, worried to see the circus without supervision, finally agreed to sell their property. Jérôme being unavailable, the Saints began contacting potential buyers among the French circus community.&lt;br /&gt;
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[[File:Medrano-Busch_Program.jpeg|thumb|300px|left|Program Cover by Cello for Medrano-Busch]]On November 15, 1940, the Propagandastaffel (the German propaganda service in Nazi-occupied France) gave the Parisian circuses’ management to [[Circus Busch|Paula Busch]], who placed her son-in-law, [[Emil Wacker]], at the helm of Medrano. Then Paula Busch took over the Cirque d’Hiver in December. It was, to the Nazis, a propaganda coup with which they expected to help build in Paris a positive image of the German occupiers. It misfired and lasted only the three-month trial period scheduled by the Propagandastaffel: Parisians didn’t consider watching German acts in the company of Wehrmacht soldiers to be their idea of good circus entertainment.&lt;br /&gt;
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Finally demobilized, Jérôme Medrano rushed back to Paris to check on his circus (which was still under Busch management) and immediately signed a new nine-year renewable lease with Roger Saint, whose family still owned the building. Unfortunately, its impending sale was announced at a very bad time for Jérôme, who was not in a position to buy: His divorce from Rachel Baquet had turned into a convoluted and lengthy litigation. Since his wife had been nominally co-director of the Medrano circuses, the divorce was not only a personal separation but also a professional (and financial) parting. As a result, Jérôme was buried in complex and expensive legal proceedings, which the war and the German Occupation had not made easier. &lt;br /&gt;
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At that point, Jérôme was living with Denise Baillard (1915-1964), a former dancer with the Bluebell Girls. To protect himself and his circus from possible financial and legal problems resulting from his divorce, he created a new company, S.E.S.V. (Société d’Exploitation de Spectacles de Variétés) whose principal was Denise, and to which he transferred the circus’s lease and other assets that were on his name. On August 18, 1941, Denise gave birth to Jérôme’s first child, Daniel. Then the new family traveled to the Free Zone in the South of France, where they had rented a villa at Saint-Jean Cap Ferrat. Marcelle Roulet, Denise’s sister, was put in charge of the Parisian circus’s administration. Jérôme returned to Paris only when business called him. &lt;br /&gt;
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Jérôme Medrano had reopened his circus on April 11, 1941 with a show headlined by a host of well-known clowns: [[Pipo Sosman|Pipo]] and [[Tony Sosman]], [[Alex Bugny|Alex]] &amp;amp; [[Achille Zavatta|Zavatta]] (the latter would emerge as a major clowning star after the War), Boulicot, [[Tony Bastien]], [[The Gruss Dynasty|Dédé Gruss]], and [[Little Walter, Jr.]]. In spite of the circumstances, Medrano was intent on remaining a joyous circus. Its new slogan was &amp;quot;Allez rire à Medrano&amp;quot; (&amp;quot;Go and laugh to Medrano&amp;quot;). It was not easy, however, to find good circus acts to work in Paris during the German Occupation: The Nazis were bleeding France’s economy, and the French currency was a highly devaluated version of the Deutschmark. Jérôme had to resort to hiring popular French singers, comedians, and actors to fill the void and maintain attractive programs.&lt;br /&gt;
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In 1941, the actor and comedian (and future producer of the long-running French Television show, ''La Piste aux Étoiles'') [[Gilles Margaritis]] had produced a hilarious variety show at the ABC Theatre in Paris, ''Les Chesterfollies'', which had been extremely successful. Margaritis had toured the international variety circuit with his friend, Roger Caccia, performing a comic musical act named [[The Chesterfields]] (in which no music was ever played); ''Les Chesterfollies'' was true to Margaritis’s particular sense of humor, a paean to absurdist and unbridled comedy in the style of the 1938 hit Broadway musical, ''Hellzapoppin''. &lt;br /&gt;
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[[File:Violette_Schmidt_(1952).jpeg|thumb|right|450px|Violette Schmidt (1952)]]Margaritis, who loved the circus, had used several well-known clowns and circus acts in his show, and Jérôme asked him to create a new version of his ''Chesterfollies'' for Medrano. ''Les Chesterfollies 43'' opened in January 1943, and was a huge success that remained four months on the bill. The show saw the Medrano debut of sixteen-year-old acrobatic dancer [[Violette Medrano|Violette Schmidt]] (1926-2018)&amp;amp;mdash;who will play an important role in Jérôme’s life and in Medrano’s history.&lt;br /&gt;
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The 1942-43 season had been a good one, and to add to the expected celebratory mood, on September 5, 1943, Denise Baillard had given birth to Jérôme’s second son, Patrick. But all was not well in Jérôme Medrano’s world: At the end of the year (1943), the Saint family finally auctioned off their circus property. The wealthy Bougliones, tenants of the Cirque d’Hiver, bid against the brothers Amar and [[Charles Spiessert]] (owner of the [[Cirque Pinder]]); as a final argument, the Bougliones produced the bags of gold they had brought in the trunk of their car and offered to pay cash: They won the prize&amp;amp;mdash;and then and there became the new owners of the circus building and its land. Jérôme Medrano, who still had seven years on his lease, was now the tenant of his competition. However, he was nowhere to be seen: By then, he had joined the French Resistance. &lt;br /&gt;
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In February 1944, Medrano presented ''Les Chesterfollies 44'', which had only a mediocre success: It came too soon on the heels of the previous edition, and Parisians had now something else to give them solace: The Allied Forces had landed in Italy. Nonetheless, ''Les Chesterfollies'' remained on the bill for some time, since the political situation had become too volatile to plan anything in the long term. In April, Jérôme’s divorce from Rachel Baquet was at long last finalized. On June 6, the Allied Forces debarked in Normandy. On August 25, the Free French Forces liberated Paris. Jérôme Medrano resurfaced under the U.S. Army’s uniform: He had been a Liaison Officer between the U.S. Army and the Free French Forces. On May 8, 1945, Germany surrendered and World War II was officially over.&lt;br /&gt;
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===The Post-War Era: The Floor Show===&lt;br /&gt;
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When Medrano reopened for the 1944-45 Season, the printed program was bilingual, in English and French, to attract the American and English forces stationed in Paris. It listed Jérôme Medrano as Artisitic Director and Marcelle Roulet as Business Manager. Rocordier was still the show host, and the delightful auguste Loriot had replaced Boulicot. The programs were not anymore relying on performers from other fields: More acts were now available, although international acts were still difficult to attract. Pipo Sosman and Rhum were the clown stars of the season. &lt;br /&gt;
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[[File:The_Craddocks_-_Medrano.jpeg|thumb|left|300px|The Craddocks (1951)]]Then, in April 1945, Jérôme Medrano and Denise Baillard were married in Boulogne-Billancourt, a Paris suburb where they lived (and where the circus had its warehouse). On the wedding certificate, Denise was described as &amp;quot;company manager,&amp;quot; and Jérôme as &amp;quot;industrialist.&amp;quot; Jérôme was now preparing his first true post-war season; he, Denise and their children spent the summer in their villa at Saint-Jean Cap Ferrat, and the circus re-opened in September 1945 announcing a circus more in sync with the times, which, if not truly different from what Jérôme had already tried to do before the war, ushered a new era for Medrano.&lt;br /&gt;
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The show embraced wholeheartedly what Medrano had attempted earlier with the Peter Sisters: a mixture of pure circus and varieties. The first half of the show featured ten traditional circus acts, the clowns [[Nino]] &amp;amp; [[Emile Coryn|Mimile]] (soon to be put in friendly competition with [[Louis Maïss|Maïss]] and the very popular [[Béby Frediani|Béby]]), and featured the sensational debut of [[Rose Gold]], in a superb solo trapeze act unanimously praised by the press&amp;amp;mdash;and which prefigured the legendary [[Rose Gold Trio]], whose world debut occurred in November at Medrano. Recordier &amp;amp; Loriot took care of the transitions with the additional help of a troupe of augustes. &lt;br /&gt;
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During intermission, the ring was covered with a wooden floor, and although the acts selected for the second half were still, for the most part, circus acts, their style was more suited for varieties, cabarets and nightclubs, and a special Master of Ceremonies introduced them. Jérôme called it the ''Floor Show''. The first ''Floor Show'' starred The [[Les Craddocks|Craddocks]], the celebrated comedy tumbling act of François Fratellini’s sons (the future clowns Kiko, Popaul &amp;amp; Baba Fratellini), which had been featured in variety theatres and nightclubs all over the world.  The famous dancer-singer-musician Maria Valente, a huge star of the variety stage before the war, was featured in the December production, and eighteen-year-old Violette Schmidt returned to Medrano in January. &lt;br /&gt;
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Inevitably, circus purists criticized Jérôme Medrano, but his new formula&amp;amp;mdash;which was widely talked about by the Press&amp;amp;mdash;had two possible advantages: Firstly, it distinguished Medrano from the more traditional Cirque d’Hiver, whose large annexes allowed the use of many animals from the Bougliones’ rich menagerie, and which was better equipped for the production of spectacular pantomimes&amp;amp;mdash;its specialty; secondly, it could once again bring to Medrano a fresh, younger urban audience, which might have not patronized a more traditional circus. &lt;br /&gt;
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Yet, in the long run, the ''Floor-Show'' didn’t make much sense: it still presented, after all, circus acts, even if they had a more contemporary flavor. However, the so-called &amp;quot;circus&amp;quot; part (as opposed to the &amp;quot;Floor Show&amp;quot;), included sometimes the most successful acts, or was the realm of the audience’s true favorites, such as the clowns Maïss &amp;amp; Béby. In January 1947, Medrano reverted to traditional circus programs without a marked difference between the first and the second halves of the show.&lt;br /&gt;
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===To America And Back===&lt;br /&gt;
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At the beginning of the 1946-47 Season, Jérôme had put together an efficient administrative team at the helm of his circus, with his sister-in-law Marcelle Roulet as General Manager, her husband Maurice Roulet as Administrative Manager, the former cat trainer [[Joseph Trubka]] as ''Régisseur'', Félix Vitry in charge of marketing and publicity, and, in a less alluring but not inconsequential position, Paulette Decaplane, Denise Medrano’s other sister, took care of the bar and concessions. Medrano was once more a family affair. With his team in place, Jérôme, Denise and their children sailed to New York in December, and then moved to California, where they settled in Westwood, Los Angeles.&lt;br /&gt;
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To the American entertainment press, Jérôme said that he had come to America to scout fresh talent for his circus. In reality, his reasons were more personal&amp;amp;mdash;related to the uncertain future of his Parisian circus and, consequently, his. Yet he did actually scout for talent while in America. In September 1947, the first show of Medrano’s 50th Anniversary Season (1947-48), was headlined by the legendary Hollywood comedian [[Buster Keaton]]. Keaton had reached the nadir of his Hollywood career at M-G-M with a dreadful series of B-movies co-starring the comedian Jimmy Durante, and after a bout with depression and alcoholism, he had returned to the variety stage with his new wife, Eleanor. Jérôme, who had just lost Laurel &amp;amp; Hardy to the new Lido of Paris (where they didn’t fare well), immediately signed him.&lt;br /&gt;
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[[File:Buster_Keaton_-_Medrano_47.jpeg|thumb|right|380px|Buster Keaton and Friends at Medrano's backstage bar (1947)]]Buster Keaton’s appearance was a huge hit; his Parisian engagement actually revived interest in his silent films, which were unearthed for the occasion by the French ''Cinémathèque'', and whose screenings became a major event for French cinema aficionados. Jérôme quickly offered him a return engagement. He had also contracted the Peter Sisters, who returned to Paris and followed Keaton in October. Another Hollywood luminary, the phenomenal tap dancer and (by then) singer Harold Nicholas, of Nicholas Brothers fame, headlined the November show. These names would have given legitimacy to the ''Floor Show'' concept, but they came a little too late. &lt;br /&gt;
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Jérôme and Denise Medrano managed their Parisian circus from afar; the family had taken roots in California, where they had purchased a large villa in Encino, California. The post-war years were a boon for circuses all over Europe, and business was going strong. In 1949, Denise and Jérôme had begun to put together an all-American revue, which would be titled ''Hollywood Rhythm Extravaganza'', and Jérôme returned to Paris in November 1950 to prepare a European tour for the show. Another reason for his return was the signing of a four-year extension of his lease (which should have expired at the end of the year), obtained by his lawyers to compensate for his war-years’ losses. &lt;br /&gt;
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In Paris, Jérôme realized that he had conceived his Hollywood extravaganza on an American scale, much too large for his circus: It had to be seriously re-tailored into a lighter version to be manageable and profitable at home and on tour. There were also problems with parts of the scenic equipment ordered in advance in France that was not ready in time, and others that just didn’t work. After several delays, the show opened anyway in January 1951; if the French audience didn’t warm up to the American comic Jérôme had brought with him, they certainly appreciated the legendary one-legged tap dancer Peg-Leg Bates, who was the true revelation of the show, and the imposing thirty-six-girl chorus line. &lt;br /&gt;
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Yet the show, which was mostly a traditional American variety revue, didn’t jell, and it failed to attract Parisians to the circus. The show was modified with a more &amp;quot;circus&amp;quot; feel, and renamed ''Hollywood Follies''. Among the European artists hired to complete the line-up of circus acts were The Craddocks and the Rose Gold Trio, who made a strong impact. In all, Jérôme Medrano’s American production managed to run for five months, but the show never really took off. It was presented afterwards at the Théâtre des Variétés in Brussels, and died there. It was indeed a disappointment for Jérôme. His name, however, had never appeared anywhere in connection with the production: It was produced by a Jerry E. Mordan, which was an Americanized anagram Jérôme had adopted for the occasion…&lt;br /&gt;
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Nonetheless, Jérôme Medrano began casting his 1951-52 season. Among other acts, he re-booked one of his favorite performers, the acrobatic dancer Violette Schmidt. Violette was now 23 years old, a beautiful woman, and Jérôme had fallen heels-over-head for her when she came unexpectedly to see a show at the circus. They soon began a very conspicuous affair, which was not to the liking of Jérôme’s General Manager and sister-in-law, Marcelle Roulet.  Marcelle informed her sister, Denise Medrano, and had a falling-out with Jérôme. It was once again a poisonous family situation that affected the circus. Jérôme reacted swiftly, as usual: he fired the Roulets and took back the full management of his circus. And, as he would admit much later in an interview, he &amp;quot;forgot&amp;quot; his family in America…&lt;br /&gt;
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===The Early Fifties===&lt;br /&gt;
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Jérôme Medrano put together a new managerial team, with Léon Marchoux as General Manager and Marcel Hauriac as ''Secrétaire Général'', two well known figures in the circus and variety world. Josef Trubka kept his position as ''Régisseur Général'', and marketing and advertising was still in the hands of Félix Vitry, who had created his own advertising and publicity agency. The talented Germaine Mordant (1911-1968), an old friend of Jérôme’s who came to Medrano in 1947, remained the music conductor&amp;amp;mdash;the only woman ever to hold this position in a circus. A new, very promising ringmaster/host, [[Jean Dréna]], joined the group: He would soon become an iconic presence in Medrano’s ring. The Parisian press was elated by the return of Jérôme Medrano, and saluted the event as a possible &amp;quot;rebirth&amp;quot; of the Cirque Medrano of yore. &lt;br /&gt;
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[[File:Drena_et_Loriot.jpg|thumb|left|450px|Jean Dréna &amp;amp; Loriot]]They were not disappointed: the 1951-52 Season is still regarded today as one of the best seasons ever put together by the Parisian circus. Jérôme offered fourteen shows with a cornucopia of some of the best acts in the business, including the return of old favorites and the debuts of acts that had never been seen in Paris. Among the favorites was the Dutch high-school equestrian [[Otto Schumann]], whose success was such that his contract had to be extended twice. [[The Charlivels]], Violette Schmidt, the singer acrobat [[Gino Donati]], the high wire troupe of [[Bob Gerry]], the young hand-balancer prodige [[Little John]], the extremely talented tiger and lion trainer [[Vojtech Trubka]] were among the many hits of that season&amp;amp;mdash;which also saw the revival of the ''Club des Amis de Medrano''.&lt;br /&gt;
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The clowns had indeed a place of choice in these shows, which critics praised as the &amp;quot;rebirth of true circus&amp;quot;: Boulicot, Loriot, and the American auguste [[Billy Beck]] kept the show moving at Jean Dréna’s side, and [[Nino]] &amp;amp; [[Charly]], Rhum, [[Polo Rivel]] and his children, Pipo &amp;amp; Béby (teamed up by Jérôme, who had a knack of pairing clowns), and the new [[Les Bario|Barios]] delivered the entrées that kept the audience laughing. Jérôme also organized a Clown Tournament that revealed a few newcomers who would soon make a name for themselves, such as [[Bocky et Randel|Bocky]] and [[Bob et Momo|Bob]]. Additionally, in January 1952, Grock returned to Medrano for the first time since WWII: Many European directors had shunned him for having performed in Nazi Germany during the conflict. This was to be Grock’s last appearance in Paris. He was seventy-two; he would die seven years later, after a mildly successful &amp;quot;farewell&amp;quot; European tour with a circus bearing his name. &lt;br /&gt;
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Jérôme Medrano was now firmly in charge of his circus&amp;amp;mdash;if not of his personal life. In September 1951, Denise Medrano had returned to Paris with her children in a last-ditch effort to save her marriage. It didn’t work. A divorce procedure was set in motion, which was as complex as the previous one because of the same intrusion of business matters into Jérôme’s personal affairs. Nonetheless, at the end of the very successful 1951-52 Season, Jérôme Medrano and Violette Schmidt, now a bona-fide couple, went on a prospecting tour (also &amp;quot;to take some fresh air&amp;quot; as Jérôme described the trip) of the United States, Canada and Mexico. &lt;br /&gt;
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In October 1952, Buster Keaton was back at Medrano, and met with his usual success. Yet he was not the only successful clown that season: In March 1953, the famous playwright, filmmaker, director and actor Sacha Guitry (1885-1957) wrote in a French magazine a dithyramb on Rhum, whom he had just seen on television in a sketch the great auguste had performed at Medrano. In it, Guitry placed Rhum above every known comic, including Charlie Chaplin. Rhum’s sketch was mute: He was dying of a throat cancer. He sadly passed away that same year, in October, to the immense chagrin of his many admirers and colleagues. The brilliant Rhum would never grace again Medrano’s magic ring, but Buster Keaton returned there one last time, in January of 1954.&lt;br /&gt;
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Meanwhile, on September 16, 1953, Medrano hosted the first broadcast of a circus television show conceived by Gilles Margaritis, which had not yet found its name, but will become [[''La Piste aux Etoiles'']], one of the French television's longest-running show. ''La Piste aux Etoiles'' will be shot intermittently at Medrano, and regularly starting in 1959, but only for a short time: Jérôme's proprietors, the Bouglione family, forbade Medrano to be used for anything else than pure circus performances, which implied that the circus couldn't be used as a television studio. This interdiction was part of the Bougliones' attempts to discourage Jérôme; in 1960, the show found a new home at the Cirque d'Hiver.&lt;br /&gt;
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Also in 1953, Jérôme had produced a show under the Medrano banner at the ''Palais des Sports'' of Liège, in Belgium, with the animals of the German [[Circus Williams]] presented by [[The Althoff Dynasty|Adolf Althoff]], Carola Williams’s brother. During the spring-summer season of 1954, he launched a traveling ''Grand Cirque Russe'' in association with the [[Cirque Beautour]]. This was part of a flurry of upcoming extra-Parisian circus activity that kept Jérôme busy at that period. He sensed perhaps that he had to reinvent himself: The year 1954 was to be the last of Medrano’s extended original lease. Nonetheless, during the summer of 1953, he refurbished his circus, adding stairs leading to the orchestra platform on each side of the ring entrance, and suppressing in the process seats notorious for their bad sightline.&lt;br /&gt;
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===The Survival Years===&lt;br /&gt;
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During the 1953/54 Season, Jérôme explored the various legal options at his disposal to retain control of his circus&amp;amp;mdash;which the Bougliones were eager to take away from him&amp;amp;mdash;and 1955 saw the beginning of legal wranglings that would last eight long years. Not everything was bad however: On November 24, 1954, Violette Schmidt had given birth to their daughter, Françoise. Although Jérôme’s divorce procedure with Denise was still ongoing, he was intent on marrying Violette and immediately recognized their first child. A first judgement of divorce was pronounced in June 1955, but it wouldn’t be finalized until 1958. In the spring of 1955, Violette announced she was expecting a second child, Jérôme III, who was born February 22, 1956. Denise returned to the United States with her children in the summer of 1956; she had been awarded the Medranos’ American properties.&lt;br /&gt;
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[[File:Zavattarzan.jpeg|thumb|450px|right|Achille Zavatta backstage  as &amp;quot;Zavattarzan&amp;quot; (1956)]]In 1955, Jérôme made a deal with the [[The Gruss Dynasty|Cirque Gruss-Jeannet]], which was ending its long association with Radio Luxembourg, under the patronage of which it had toured as the very successful [[Radio-Circus]]; they launched together a new Medrano &amp;quot;voyageur&amp;quot; under which colors Gruss-Jeannet toured in 1956. Yet, at the same time, the brothers [[The Gruss Dynasty|Gruss]] and [[Lucien Jeannet]] struck a potentially more rewarding bargain with the very popular actor and comedian [[Jean Richard]] (a longtime amateur cat trainer and owner of a private zoo) to tour as the [[Cirque Jean Richard]] in 1957 and&amp;amp;mdash;most importantly&amp;amp;mdash;with him as its star. Jean Richard had been featured at Medrano in December 1955, where the comedian had presented [[Circus Knie]]’s group of African elephants: Jérôme saw the association of Jean Richard and Gruss-Jeannet as a double betrayal.&lt;br /&gt;
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In spite of his precarious situation, Jérôme Medrano continued to present excellent and often innovative programs on the Boulevard de Rochechouart. For the 1955-1956 season, the clown star was [[Achille Zavatta]]. Zavatta had become France’s most popular auguste thanks to his frequent appearances on Margaritis’s hit television show, ''[[La Piste aux Étoiles]]''. in December 1955-January 1956, for the Holiday season, Medrano saw the return of the the great tiger trainer [[Gilbert Houcke]]. Houcke, a genuine circus star, preempted Zavatta as the headliner of the show, which he ended&amp;amp;mdash;in a true star position rarely given to a cage act. But indeed, Houcke's name alone sold tickets! &lt;br /&gt;
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Then Gilles Margaritis returned with a brand new edition of his ''Chesterfollies'', entirely built around the season's star, Achille Zavatta. For this production, Zavatta displayed the full range of his many circus talents, from bareback riding to a comedy act with a group of lions, which he presented as ''Zavattarzan'' and in which he hilariously lost his wig in the mouth of a lioness after having put his head in her mouth. The production was a huge success. &lt;br /&gt;
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In September 1956, the [[Fövárosi Nägycircusz]] of Budapest opened the 1956-57 season, and remained successfully on the bill until the end of October&amp;amp;mdash;at which time the Hungarian insurrection began and the Soviet troops entered Budapest: What was a normal engagement suddenly became an event of political significance! In November, Medrano hosted the German [[Circus Williams]]&amp;amp;mdash;albeit without its young star, [[Gunther Gebel-Williams]]: His group of 11 elephants was much too large for Medrano’s cramped quarters. In December, Jérôme helped produce the ''Grand Cirque 57'' at Paris’s Palais des Sports, a huge American-style circus spectacular on three rings and two stages; he had also two Christmas shows running at the same time in large arenas in Marseille and Lyon, in addition to Medrano’s Christmas program.&lt;br /&gt;
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In March 1957, the extremely popular French comedian Fernand Raynaud (1926-1973) was the star of the show. Raynaud’s humor was mostly spoken, but he was also an excellent mime, and some of his sketches were very visual: He was not awkward in a circus ring. His turn, which included a parody of a ballerina on tight wire (for which Raynaud actually walked the wire) and a very good impersonation of Charlie Chaplin, won over the doubts of many critics. Then, in September, eighty-year-old Albert Fratellini, the last surviving member of the fabled trio, began at Medrano what would be his last circus season.&lt;br /&gt;
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The 1957-58 Season saw major changes at Medrano. Jean Laporte (1908-1997), a legendary circus bandleader who had succeeded Germaine Mordant in 1953 at the helm of Medrano’s orchestra, left for the [[Grand Cirque de France]] (Gruss-Jeannet) and was replaced by Hubert Dewaele. In September 1958, Marcellys (Marcel Ballester), a former singer turned clown and ringmaster, who had been featured as a straight man for Achille Zavatta in ''Les Chesterfollies 56'', replaced Jean Dréna&amp;amp;mdash;who had retired to the lament of Medrano’s habitués&amp;amp;mdash;as Medrano’s host/ringmaster. Félix Vitry also left to take the management of the legendary Bobino Music-Hall, and Jacques Prély, a former singer and lyricist, became Medrano’s ''Régisseur Général'', a position he will keep until the end. &lt;br /&gt;
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Two of Medrano’s old pillars, the augustes Boulicot and Béby passed away in 1958, but a new generation of very talented clowns was ready: Achille Zavatta, the Barios (who spent the 1956-57 Season at Medrano), the [[Los Rudi-Llata|Rudi-Llatas]], and [[Kiko, Popol et Baba Fratellini]] (the former Craddocks and the sons of François Fratellini), who made their Parisian clown debut at Medrano in February 1958. Others would come.&lt;br /&gt;
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===Swan Song===&lt;br /&gt;
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On January 6, 1958, the divorce of Jérôme Medrano and Denise Baillard was at long last finalized. On April 28, Jérôme married Amélie Violette Schmidt at the 9th Arrondissement’s City-Hall in Paris. Violette Medrano would take an important role in the running of the circus, both administratively and artistically, in the last four years of its life. Meanwhile, Jérôme kept his circus well alive and continued to present a string of first-rate programs, in spite of the fact that he couldn’t secure acts very far in advance: He was under the constant threat of having to surrender his circus whenever his arsenal of legal bickering would run out.&lt;br /&gt;
&lt;br /&gt;
In September 1958, Medrano offered a spectacle titled ''Bravissimo'', conceived by Jacques Prély. It was an Italian-themed musical extravaganza featuring the Doriss Girls (the famous dancers of the neighboring Moulin-Rouge cabaret) and several good acts, but which was plagued with technical problems and never jelled. It lasted only four weeks. Following this debacle, comedy and humor became Medrano’s main fare in 1958 and 1959, with a cornucopia of clowns, some remaining on the bill for several months in a row&amp;amp;mdash;among whom Albert Fratellini, Loriot, [[Gin]], [[The Andreu-Rivels]], [[The Sikis]], [[The Steckels]], the comedian Chrisitian Duvaleix (an old pillar of ''Les Chesterfollies''), [[Bocky et Randel]], Kiko, Popol &amp;amp; Baba Fratellini, [[Don Saunders]], The Barios, Maïss &amp;amp; [[Pastis]], and [[Lulu et Tonio]]. &lt;br /&gt;
&lt;br /&gt;
[[File:Corry_Vermeeren.jpeg|thumb|400px|left|Corry Vermeeren on ice, in the new cage (1960)]]There were also several acts of first magnitude: The hand-balancer Little John, [[Philippe Gruss]] and his leopards (and horses),  [[Maryse Bégary]] on the trapeze, [[Dany Renz]] in his famous jockey act, ''Robin Hood'', and the legendary Spanish star of the Washington trapeze, [[Pinito Del Oro]], among many others. Medrano was still Medrano. Yet, in February of 1959, following the advice of his lawyers, Jérôme created a new corporate entity for the exploitation of his circus&amp;amp;mdash;in all probability to generate new legal hurdles for the Bougliones and continue to stall a situation whose obvious conclusion was unfortunately inexorable. When the 1959-60 Season began in September, Violette Medrano was conspicuously listed on the program as the circus’s sole Director. (She was also the Director of the new corporation.) Although he was still in actuality at the artistic helm of his circus, Jérôme remained in the shadows.&lt;br /&gt;
&lt;br /&gt;
Yet Violette’s personal touch could be felt: The overall style of Medrano was modernized and refreshed, notably with usherettes in elegant and colorful dresses instead of circus uniforms, and the use of air freshener in the corridors and the bar to mask the smell of the menagerie. (The latter innovation was strongly criticized by hardcore circus fans!) Marcellys took over the orchestra, in addition to his role as host. Violette also conceived the idea of an already built-up steel arena coming down from the cupola for the cage acts. This was a good innovation, although it couldn’t be used in conjunction with major aerial acts, such as flying trapeze and high wire, and thus influenced to some extent the composition of the programs (either big aerial act or cage act, but not both). Covered with fabric, it also served as a ring curtain in a few productions.&lt;br /&gt;
&lt;br /&gt;
In May 1960, the season ended with an interesting show titled ''Cavalcade sur Glace 60''. It was entirely performed on ice, including [[Erie Klant]]'s polar-bear act presented [[Corry Vermeeren]], [[The Fratellini Family|Stella Fratellini]] and her chimpanzee Georgie, and, most amazingly, the high school act of [[Elvira Vonderp]]. The featured star of the show was the former French champion ice-skater Raymonde Du Bief, but its true stars were the Barios, who had spent most of the 1959-60 Season at Medrano, and were at the height of their creative and comedic talents. They performed wonderful original entrées (on skates, like everyone else in the show), and gave the production its soul as well as its laughs.&lt;br /&gt;
&lt;br /&gt;
For the 1960-61 Holiday Season, Medrano presented ''Rêve de Clown'', a show built around the legendary clown [[Charlie Rivel]], who had not been seen in Paris since WWII. Unless Grock, Charlie Rivel had built over the years a rich repertoire, and had been able to adapt it to his age and to the times. Some of his work in that show was new to Parisian audiences, and Rivel obtained a huge success. The 1961-62 Season saw a new orchestra conductor, the Belgian composer and sometime actor V. O. Ursmar (Ursmar van Oosterwijck), who would be the last of a line of remarkable conductors leading Medrano’s orchestra. Marcellys had gone to the [[Cirque Pinder]], and the new host was Jacques Demarny, a former actor, singer and prolific author of popular songs. The season was rich in great acts, and Achille Zavatta was its star all winter long; it was hard to imagine that it was Medrano’s last full season.&lt;br /&gt;
&lt;br /&gt;
===The End===&lt;br /&gt;
&lt;br /&gt;
[[File:Medrano_Farewell.jpg|thumb|right|400px|The Farewell, January 7, 1963]]There were signs however: The following summer season, never really strong in terms of acts, was exceptionally weak. Yet, when the 1962-63 Season started in earnest, the program was again remarkable, with the heavily advertised [[Yves de la Cour]]’s equestrienne protégée, [[Lilo]], in a sensual and scantily-clad high-school act, the [[Jarz Family|Jarz]], one the best flying trapeze acts of the Italian school, the legendary somersaulter [[Atilina Segura]] on the tight wire, the [[Tovarich Troupe|Tovarich]] family of equilibrists, [[André Danion]]’s sea lions, and the brilliant clowns Rudi-Llata, among others. &lt;br /&gt;
&lt;br /&gt;
The Holiday program featured [[Philippe Gruss]] with his leopards and the Gruss-Jeannet horses and elephants, the Spanish clowns [[Los Álava]] and the [[Paco Perez Trio]], the amazing [[The Aratas|Billy, Vittorio and Anna Arata]] on the tight wire, the Japanese acrobats [[The Akimotos|Akimoto]], the chimpanzees of [[Klaus Kroplin]], [[Miss Chabre]] and her dogs, the American crossbow-shooting act of [[Bob Markworth and Mayana]], the famous Spanish aerialist [[Alma Piaïa]] (who was then past her prime), and two lesser-known acts, [[The Trampowers]] on the trampoline, and the hand-to-hand balancers [[Les Francesco|Francescos]]. Albeit not of the quality of the previous one, it was still a very commendable program: By then, incertitude forced Jérôme to sign his performers’ contracts at the last minute. Sadly, these artists were to be part of Medrano’s very last production.&lt;br /&gt;
&lt;br /&gt;
On December 15, 1962, during the Saturday matinee, the Bouglione family entered the circus and took at long last possession of their property. Three weeks later, on January 7, 1963, at the end of the last performance of their last program, Jérôme and Violette Medrano stepped into Medrano’s legendary ring to a prolonged ovation, and bade their heartbroken audience farewell. The Parisian clowns who had graced Medrano’s &amp;quot;magic circle&amp;quot; over the years accompanied them, led by Kiko, Popol and Baba Fratellini, who had spent their childhood with Jérôme in what would become his circus. When, late in the evening, the lights finally went off, Medrano, ''&amp;quot;Le Cirque de Paris&amp;quot;'', had ceased to exist.&lt;br /&gt;
&lt;br /&gt;
==Epilogue==&lt;br /&gt;
&lt;br /&gt;
===Le Cirque de Montmartre===&lt;br /&gt;
&lt;br /&gt;
Jérôme and Violette Medrano remained in their apartment in the circus for a few weeks, while the Bougliones renovated the circus to their needs; a not so good renovation was to have the Barbier-Daumont’s frescoes at the periphery of the house &amp;quot;refreshed&amp;quot; by an advertising painter, who transformed them into cartoon-like illustrations. Once their affairs in order, the Medranos moved to Monaco, where they settled in a rented apartment. &lt;br /&gt;
&lt;br /&gt;
[[File:Hermanos_Clowns.jpeg|left|300px|Poster for The Hermanos at the Cirque de Montmartre (1968)]]The Bouglione Juniors (Firmin, Sampion, Émilien, and Joseph) took over the management of the circus, which was renamed ''Cirque de Montmartre''. Since they were also running the mighty Bouglione traveling circus (their father, Joseph Bouglione, and their uncle Firmin were running the Cirque d’Hiver), they put together very short winter seasons. In addition, they performed only three days a week, Wednesday, Saturday, and Sunday, and on Holidays. &lt;br /&gt;
&lt;br /&gt;
They had commendable shows, certainly more energetic and less sedate than what the Cirque d’Hiver, now free of any serious competition, was showing by then. The Cirque de Montmartre often headlined the Barios (the famous clowns created their hilarious parody of ''Cleopatra'' there), but somehow the special magic of the old Medrano was gone. The atmosphere was not the same: Gone was the sophisticated lighting, the special intimacy created by hosts such as Jean Dréna and Medrano’s house augustes, and gone, too, were the surprises, the unexpected novelties. The style was too close to that of the Cirque d’Hiver, and in spite of the Juniors’ best efforts, the Cirque de Montmartre just looked like its annex.  &lt;br /&gt;
&lt;br /&gt;
Off-season, the Cirque de Montmartre hosted extra-curricular events. In 1966, Colette Renard, a popular French chanteuse, starred in a musical spectacular, ''Jehanne Vérité'', about Joan of Arc. In 1967 and 1968, the circus was rented out to Ariane Mnouchkine’s ''Théâtre du Du Soleil'', which presented productions &amp;quot;in the round&amp;quot; of Shakespeare’s ''A Midsummer Night’s Dream'', and Arnold Wesker’s ''La Cuisine'' (&amp;quot;The Kitchen&amp;quot;). In terms of circus, however, the Cirque de Montmartre remains but a footnote in the glorious history of the legendary house of the Boulevard de Rochechouart. Even the name &amp;quot;Cirque de Montmartre&amp;quot; didn’t stick: it was still referred to as Medrano&amp;amp;mdash;as it still is to this day. &lt;br /&gt;
&lt;br /&gt;
The Cirque de Montmartre gave its last performance on January 8, 1971, in an atmosphere of general indifference. The building was eventually rented out to a permanent ''Fête de la Bière'' (Beer Feast), to the dismay of circus aficionados and old Medrano’s habitués. And then, it was simply forgotten&amp;amp;mdash;until December 1973: At the end of the month, startled passersby noticed that workers had begun demolishing it. In January 1974, the building would have been 100 years old, and thus would have been automatically added to the ''Inventaire des Sites'' (the national inventory of potential landmarks): It could have prevented its demolition, since there would have been an inquiry regarding the building’s historical significance. The Bougliones, who wanted to cash in on their idle property, couldn’t waste any time.&lt;br /&gt;
&lt;br /&gt;
The move provoked a public outrage, further fueled by the previous demolition of the historic ''Théâtre de l’Ambigu'', one of Paris’s oldest theatres, and, at the beginning of the year, the ''Gaumont Palace'', Europe’s largest movie house (whose walls actually encased the structure of the old [[Hippodrome de la Place Clichy]]). This would eventually lead the City of Paris, when it finally got an elected Mayor in 1977, to automatically place its historic theatres under protection&amp;amp;mdash;but, sadly, it was much too late. Today, a particularly unattractive apartment building named ''Le Bouglione'' occupies the site; a plaque, unveiled on the building in October 2012, reminds passersby that the Cirque Fernando, later Medrano, later Cirque de Montmartre, once stood there.&lt;br /&gt;
&lt;br /&gt;
===Medrano Redux===&lt;br /&gt;
&lt;br /&gt;
The Medranos saw the painful demise of their circus from Monaco. They didn’t have much money left, and while Jérôme still toyed with circus projects (while acting on occasion as a boat salesman), Violette took a steady job in a bank. They would remain in Monaco until the end; circus enthusiasts, old circus acquaintances, and circus directors of a newer generation were happy to chat with Jérôme or Violette at the [[International Circus Festival of Monte Carlo]], which they attended every year at the invitation of Prince Rainier III of Monaco.&lt;br /&gt;
&lt;br /&gt;
But this was not the end of Medrano, the circus. On March 3, 1978, a new Cirque Medrano was launched in Saint-Germain-en-Laye, near Paris. It was Jean Richard’s last circus venture; he had made a deal with Jérôme, and the [[Nouveau Cirque Jean Richard]], which had created some confusion with Jean Richard’s other circuses, the [[Cirque Jean-Richard]] and the [[Cirque Pinder|Cirque Pinder-Jean Richard]], was renamed ''Medrano''. Managed by Alexis Gruss, Sr., it was quite successful, but lasted only three months: Jean Richard’s circus empire collapsed, and the new Medrano disappeared in its bankruptcy.&lt;br /&gt;
&lt;br /&gt;
Then, in 1987, a young circus entrepreneur, [[Raoul Gibault]], approached Jérôme Medrano; he proposed to revive the Cirque Medrano, with Jérôme’s approval and participation (in the form of a rental agreement and a consultative role), and tour it in large provincial theatres, with the show being given on stage. It was not an easy sell, but Gibault eventually got Jérôme to agree, and the new Cirque Medrano hit the road. Raoul Gibault’s original stage concept has since morphed into a full fledged tenting circus&amp;amp;mdash;and with three units and a host of Christmas shows all over the country, Raoul Gibault runs today, under the legendary Medrano banner, one of France’s largest circus organizations.&lt;br /&gt;
&lt;br /&gt;
Jérôme Medrano passed away in Monaco on November 14, 1998, in his ninety-second year. The circus world lost one of its most innovative and talented directors, a man artistically well ahead of his times, who, quite unwittingly, paved the way for the circus of the twenty-first century. Violette Medrano passed away July 23, 2018, also in her ninety-second year; she was buried alongside Jérôme and Geronimo Medrano at the Cimetière de Montmartre in Paris. Jérôme was survived by two sons from his second marriage (who live in the United States), two children from his marriage to Violette Medrano, and twelve grandchildren on both sides of the Atlantic&amp;amp;mdash;none of whom had continued in the circus.&lt;br /&gt;
&lt;br /&gt;
==Suggested Reading==&lt;br /&gt;
&lt;br /&gt;
* Gladiateur II (Edouard Cavaillon), ''Le Cirque Fernando'', (Paris, Paul Liberal et Cie, 1875)&lt;br /&gt;
* Adrian, ''Histoire illustrée des Cirques Parisiens d'hier et d'aujourd'hui'' (Bourg-la-Reine, Adrian Ed., 1957)&lt;br /&gt;
* Tristan Rémy, ''Le Cirque Fernando &amp;amp;mdash; vingt-cinq ans de cirque, 1873-1897'' (Paris, Club du Cirque, 1979)&lt;br /&gt;
* Jérôme Medrano, ''Une vie de cirque'' (Paris, Editions Arthaud, 1983) &amp;amp;mdash; ISBN 2-7003-0443-8&lt;br /&gt;
* Christian Dupavillon, ''Architectures du Cirque'' (Paris, Editions du Moniteur, 2001) &amp;amp;mdash; ISBN 2-281-19136-2&lt;br /&gt;
* Dominique Denis, ''Medrano, Saison 1951-1952'' (Aulnay-sous-Bois, Éditions Arts des 2 Mondes, 2002)&lt;br /&gt;
* Pierre-Robert Lévy, photographies de Pierre J. Dannès, ''Un soir à Medrano'' (Montgeron, Éditions Photostars, 2006) &amp;amp;mdash; ISBN 978-2-9527837-0-5&lt;br /&gt;
* Pierre J. Dannès, Jr., ''Dannès, ses photographies'' (Montgeron, Éditions Photostars, 2010) &amp;amp;mdash; ISBN 978-2-9537837-5-0&lt;br /&gt;
* Dominique Denis, ''Medrano Boum-Boum, 1897 à 1928'' (Aulnay-sous-Bois, Éditions Arts des 2 Mondes, 2012) &amp;amp;mdash; ISBN 978-2-915189-25-4&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Video: [[Buster_Keaton_Video_(1947)|Jérôme Medrano, Billy Beck, and Spider Austin about Buster Keaton at Medrano]], with a short excerpt of Keaton's ''The Duel'' (1947)&lt;br /&gt;
&lt;br /&gt;
==Image Gallery==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;Gallery&amp;gt;&lt;br /&gt;
File:Fernando-Medrano_Montmartre.jpg|Site of the Cirque Fernando/Medrano&lt;br /&gt;
File:Geronimo_Medrano_Trapeze.jpeg|Geronimo Medrano (c.1872)&lt;br /&gt;
File:Fernando_-_Blum.jpeg|''Une répétition au Cirque Fernando'' by Maurice Blum (1874)&lt;br /&gt;
File:Medrano_Cross_Section.jpeg|Gridaine's plans for the Cirque Fernando (1874)&lt;br /&gt;
File:Medrano_floor_plan.jpg|Gridaine's plans for the Cirque Fernando (1874)&lt;br /&gt;
File:Medrano_-_Maurice_Blum.jpg|Geronimo Medrano at the Cirque Fernando, by Maurice Blum (1875)&lt;br /&gt;
File:Cirque_Fernando_Poster_1875.jpg|Cirque Fernando Poster (1875)&lt;br /&gt;
File:Edmond%27s_Elephants_poster.jpeg|Poster featuring Edmonds's Elephants (1875)&lt;br /&gt;
File:Fernando-Edmonds_Elephants.jpeg|Poster featuring Edmonds's Elephants (1875)&lt;br /&gt;
File:Cirque_Fernando_1876.jpg|The Cirque Fernando by Hyppolite-Camille Delpy (1876) &lt;br /&gt;
File:Cirque_Fernando_Poster.jpeg|Cirque Fernando Poster (1876)&lt;br /&gt;
File:Miss_Lala.jpg|Lala Kaira at the Cirque Fernando by Edgar Degas (1879)&lt;br /&gt;
File:Fernando_-_Renoir.jpeg|The Wartenberg Sisters at the Cirque Fernando by Renoir (1879)&lt;br /&gt;
File:Louis_Fernando_and_Barbare.jpeg|Louis Fernando and &amp;quot;Barbare&amp;quot; (1885)&lt;br /&gt;
File:Blum_Studio.jpeg|Maurice Blum, ''The Artist's Studio'' (1885), showing ''Une répétition au Cirque Fernando'' &lt;br /&gt;
File:Geronimo_Medrano.jpg|Geronimo Medrano (c.1885)&lt;br /&gt;
File:Medrano_Faverot.jpg|Geronimo Medrano (1887)&lt;br /&gt;
File:Fernando_-_Lautrec.jpeg|Louis Fernando by Toulouse-Lautrec (1887)&lt;br /&gt;
File:Cirque_Fernando_-_Lautrec.jpeg|Equestrienne at the Cirque Fernando by Toulouse-Lautrec (1888)&lt;br /&gt;
File:Jeanne_Fernando.jpg|Jeanne Fernando (c.1890)&lt;br /&gt;
File:Fernando_A_Bride_Abattue.jpeg|''À bride abattue'' at the Cirque Fernando (1893)&lt;br /&gt;
File:Cirque_Medrano_1898.jpg|Cirque Medrano (c.1898)&lt;br /&gt;
File:Director_Geronimo_Medrano.jpeg|Geronimo Medrano (c.1900)&lt;br /&gt;
File:Medrano_-_rue_Viollet-le-Duc.jpg|Cirque Medrano (c.1900)&lt;br /&gt;
File:Medrano_Boum-Boum.jpg|Program Cover (c.1900)&lt;br /&gt;
File:Nouveau_Cirque_Façade_(1904).jpeg|The Nouveau Cirque (1904)&lt;br /&gt;
File:Geronimo_Medrano_4_spt_1904.jpg#See_Also|Geronimo Medrano at the Cirque Medrano (1904)&lt;br /&gt;
File:Geronimo_Medrano_at_Cirque_Medrano.jpeg|Geronimo Medrano (c.1905)&lt;br /&gt;
File:Antonet_et_Grock.jpeg|Antonet &amp;amp; Grock (1908)&lt;br /&gt;
File:Cirque_Medrano_(Paris).jpg|Cirque Medrano (c.1910)&lt;br /&gt;
File:Rico_y_Alex.jpeg|Rico &amp;amp; Alex (c.1910)&lt;br /&gt;
File:Alphonse_Rancy.jpg|Alphonse Rancy (c.1910)&lt;br /&gt;
File:Cirque_Medrano_c1910.jpg|Cirque Medrano (c.1910)&lt;br /&gt;
File:Medrano_Poster_Tehelem.jpg|Poster by E. Tehélem (c.1915)&lt;br /&gt;
File:Medrano_rue_des_Martyrs.jpg|Cirque Medrano: Stage Door rue des Martyrs (1916)&lt;br /&gt;
File:Berthe_Medrano,_Jerome_and_Rodolphe_Bonten.jpeg|Berthe and Jérôme Medrano with Rodolphe Bonten (c.1918)&lt;br /&gt;
File:Le_Cirque_Medrano_-_Fernand_Leger.jpeg|&amp;quot;Le Cirque Medrano&amp;quot; by Fernand Léger (1918)&lt;br /&gt;
File:Les_Fratellini_-_Fernand_Léger.jpeg|Les Fratellini by Fernand Léger (c.1924)&lt;br /&gt;
File:Les_Fratellini.png|The Fratellinis (c.1925)&lt;br /&gt;
File:The_Andreu-Rivels_(c.1925).jpg|The Andreu-Rivels (c.1925)&lt;br /&gt;
File:Ernst_Schumann_-_Mills.jpeg|Ernst Schumann (1926)&lt;br /&gt;
File:Barbette_by_Gesmar.jpg|Barbette by Charles Gesmar (1926)&lt;br /&gt;
File:Dario-Bario-Rhum.jpg|Bario, Dario &amp;amp; Rhum (c.1928)&lt;br /&gt;
File:The_Cairolis_c1930.jpg|Cairoli, Porto &amp;amp; Carletto (c.1930)&lt;br /&gt;
File:Antonet_et_Beby_-_Pavil.jpeg|Poster for Antonet &amp;amp; Béby by Pavil (c.1930)&lt;br /&gt;
File:Vesque_Rastelli_1930.jpg|Enrico Rastelli by M.J. Vesque (1930)&lt;br /&gt;
File:Medrano_Construction.jpeg|Medrano's semi-construction (1932)&lt;br /&gt;
File:Fratellini_Trio_(1932).jpeg|The Fratellinis (1932)&lt;br /&gt;
File:Vesque_Recordier_et_Boulicot_1934.jpg|Recordier &amp;amp; Boulicot by M.J. Vesque (1934)&lt;br /&gt;
File:Medrano_Magazine.jpeg|Program Cover (1935)&lt;br /&gt;
File:Vesque_-_Togare_(1935).jpg|Togare at Medrano by M.J. Vesque (1935)&lt;br /&gt;
File:Medrano_Song.jpeg|Music Sheet Cover (1936)&lt;br /&gt;
File:Medrano_Voyageur_Band.jpeg|Medrano Voyageur's Band (1936)&lt;br /&gt;
File:Medrano_Voyageur.jpeg|Medrano Voyageur (1936)&lt;br /&gt;
File:Medrano_Tear-Down.jpeg|Medrano-Voyageur's Tent Crew (1936)&lt;br /&gt;
File:Medrano_Orchestra.jpg|Medrano Voyageur's Circus band (1936)&lt;br /&gt;
File:Cirque_Medrano_Voyageur_1936.jpeg|Medrano Voyageur in Paris by M. J. Vesque (1936)&lt;br /&gt;
File:The_Cairolis.jpeg|Medrano-Voyageur Poster featuring the Cairolis (1936)&lt;br /&gt;
File:Jerome-Rachel_Medrano.jpeg|Rachel and Jérôme Medrano (1937)&lt;br /&gt;
File:Medrano_-Trubka_Poster.jpeg|Medrano Voyageur Poster (1937)&lt;br /&gt;
File:Grock_Medrano_Poster.png|Grock on Tour with Medrano (1937)&lt;br /&gt;
File:Togare_-_Medrano.jpeg|Togare (1937)&lt;br /&gt;
File:Cirque_Medrano_Voyageur_1937.jpeg#See_Also|Medrano Voyageur by M. J. Vesque (1937)&lt;br /&gt;
File:Medrano_Program_Cover_1937.jpg|Program Cover (1937)&lt;br /&gt;
File:Medrano_Program_Cover_1938.jpg|Program Cover by Jean Mercier (1938)&lt;br /&gt;
File:Alex_et_Porto.jpeg|Alex &amp;amp; Porto (1938)&lt;br /&gt;
File:Medrano_by_night.jpeg|The Façade by Night (1938)&lt;br /&gt;
File:Medrano-Busch_Program.jpeg|Program Cover for Medrano-Busch (1940)&lt;br /&gt;
File:Pipo_and_Rhum.jpg|Pipo &amp;amp; Rhum (c.1942)&lt;br /&gt;
File:Alex_et_Zavatta.png|Alex &amp;amp; Zavatta (c.1942)&lt;br /&gt;
File:Medrano_Poster_1942.jpeg|Medrano Poster (1942)&lt;br /&gt;
File:Medrano_Chesterfollies_43.jpg|Program Cover (1943)&lt;br /&gt;
File:Recordier_et_Boulicot.jpg|Recordier &amp;amp; Boulicot (1945)&lt;br /&gt;
File:Buster_Keaton_-_Medrano_47.jpeg|Buster Keaton (1947)&lt;br /&gt;
File:Cirque_Medrano.jpg|Cirque Medrano (1948)&lt;br /&gt;
File:Medrano_-_Kiffer.jpeg|Poster by Charles Kiffer (1949)&lt;br /&gt;
File:Medrano_Program_Cover_Roger_Guit.jpeg|Program Cover by Roger Guit (1950)&lt;br /&gt;
File:Drena_et_Loriot.jpg|Jean Dréna &amp;amp; Loriot (c.1950)&lt;br /&gt;
File:The_Craddocks_-_Medrano.jpeg|The Craddocks (1951)&lt;br /&gt;
File:Jerome_Medrano.jpeg|Jérôme Medrano (1952)&lt;br /&gt;
File:Grock_at_Medrano.png|Grock at Medrano (1952)&lt;br /&gt;
File:Medrano_-_Bario.jpeg|Poster featuring Les Bario (1952)&lt;br /&gt;
File:Cirque_Medrano_Paris.jpg|Grock featured at Medrano (1952)&lt;br /&gt;
File:Violette_Schmidt_(1952).jpeg|Violette Schmidt (1952)&lt;br /&gt;
File:Violette_Schmidt-Medrano.jpeg|Violette Schmidt (1952)&lt;br /&gt;
File:Keaton-Medrano.jpeg|Buster Keaton (1952)&lt;br /&gt;
File:Buster_Keaton_at_Medrano.jpeg|Buster &amp;amp; Eleanor Keaton (1952)&lt;br /&gt;
File:Alex_and_Keaton_(1952).jpeg|Buster Keaton with Alex (1952)&lt;br /&gt;
File:Jerome_et_Violette_Medrano.jpg|Violette &amp;amp; Jérôme Medrano, with actor Michel Simon (c.1952)&lt;br /&gt;
File:Medrano_Program_53.jpg|Program Cover (1953)&lt;br /&gt;
File:Buster_and_Eleanor_Keaton.jpg|Buster &amp;amp; Eleanor Keaton (1954)&lt;br /&gt;
File:Buster_Keaton_1954.jpeg|Buster Keaton (1954)&lt;br /&gt;
File:Medrano_Vertes_Program.jpeg|Program Cover by Vertès (1955)&lt;br /&gt;
File:Gilbert_Houcke_Tarzan_(Medrano).jpg|Gilbert Houcke at Medrano (1955)&lt;br /&gt;
File:Zavattarzan.jpeg|Achille Zavatta in ''Les Chesterfollies 56'' (1956)&lt;br /&gt;
File:Medrano-Williams.jpeg|Circus Williams at Medrano (1956)&lt;br /&gt;
File:Medrano_-_Fernand_Raynaud.jpg|Cirque Medrano (1957)&lt;br /&gt;
File:Medrano_Albert_Fratellini-Allez_Rire.jpeg|Albert Fratellini (1957)&lt;br /&gt;
File:Medrano_Program_1960.jpeg|Program Cover by André Troy (1960)&lt;br /&gt;
File:Bario_-_Cavalcade_sur_Glace.jpg|Les Bario in ''Cavalacade sur Glace'' (1960)&lt;br /&gt;
File:Corry_Vermeeren.jpeg|Corry Vermeeren (1960)&lt;br /&gt;
File:Medrano_Program_61.jpeg|Program Cover by Jean Cocteau (1961)&lt;br /&gt;
File:Medrano_Blvd_Rochechouart_(1962).jpeg|Aerial view of Cirque Medrano (1962)&lt;br /&gt;
File:Jerome_Medrano_1963.jpeg|Jérôme Medrano, January 7, 1963&lt;br /&gt;
File:Medrano_Farewell.jpg|Violette and Jérôme Medrano, January 7, 1963&lt;br /&gt;
File:Medrano_-_Last_Day.jpeg|After the Last Performance, January 7, 1963&lt;br /&gt;
File:Medrano_Facade_01-63.jpeg|Medrano's façade, shortly after its closing (1963)&lt;br /&gt;
File:Hermanos_Clowns.jpeg|Les Frères Hermanos at the Cirque de Montmartre (1968) &lt;br /&gt;
File:Medrano_Farandole.jpg|The Clowns of Medrano by Pierre Etaix (c.1970)&lt;br /&gt;
File:Medrano_by_Zaika.jpg|Cirque Medrano by Elena Zaïka (2013)&lt;br /&gt;
File:Medrano_Mausoleum.jpeg|Medrano Mausoleum in Paris&lt;br /&gt;
&amp;lt;/Gallery&amp;gt;&lt;br /&gt;
&lt;br /&gt;
[[Category:Circuses|Medrano (Paris), Cirque]][[Category:History|Medrano (Paris), Cirque]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=Main_Page&amp;diff=36473</id>
		<title>Main Page</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=Main_Page&amp;diff=36473"/>
				<updated>2021-08-12T22:54:26Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: &lt;/p&gt;
&lt;hr /&gt;
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&amp;lt;div style=&amp;quot;font-size:175%; border:none; margin:0; padding:.1em; color:#996666;&amp;quot;&amp;gt;Welcome! ✫ Bienvenue! ✫ Willkommen! ✫ Добро Пожаловать!&amp;lt;/div&amp;gt;&amp;lt;div style=&amp;quot;font-size:175%; border:none; margin:0; padding:.1em; color:#996666;&amp;quot;&amp;gt;Bienvenida! ✫ Benvenuto! ✫ 歡迎 ! ✫ Vítejte! ✫ Καλώς ήρθατε!&amp;lt;/div&amp;gt;&amp;lt;div style=&amp;quot;font-size:175%; border:none; margin:0; padding:.1em; color:#996666;&amp;quot;&amp;gt;Üdvözöljük! ✫ Добре Дошли! ✫ Welkom! ✫ Ласкаво Просимо!&amp;lt;/div&amp;gt;&amp;lt;div style=&amp;quot;font-size:165%; border:none; margin:0; padding:.1em; color:#996666;&amp;quot;&amp;gt;Velkommen! ✫ Tervetuloa! ✫ Дабро Запрашаем! ✫ Välkommen!&amp;lt;/div&amp;gt;&amp;lt;br/&amp;gt;&lt;br /&gt;
&amp;lt;div style=&amp;quot;top:+0.2em; font-size:98%;&amp;quot;&amp;gt; ''Circopedia was originally created with the support of the  Big Apple Circus Ltd. and inspired and funded by the [http://www.sdrubin.org/ Shelley &amp;amp; Donald Rubin Foundation]''.&amp;lt;/div&amp;gt;&amp;lt;br/&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
==In The Spotlight==&lt;br /&gt;
[[File:Alessandro_Guerra_(1838).jpg|right|300px]]&lt;br /&gt;
===RUSSIA'S FIRST NATIONAL CIRCUS AND CIRCUS SCHOOL===&lt;br /&gt;
&lt;br /&gt;
On November 22, 1845, the Italian equestrian Alessandro Guerra and his troupe gave their first performance in the circus they had just built on the old Place des Manèges&amp;amp;mdash;the &amp;quot;merry-go-round square&amp;quot;, today’s Theatre Square&amp;amp;mdash;in St. Petersburg, in the shadow of the stately Kamennyi Theatre (the &amp;quot;stone theatre&amp;quot;). The Kamennyi was also known as the Bolshoi Theatre (the &amp;quot;grand&amp;quot; theatre), and like its homonym in Moscow, it housed the Imperial Ballet and Opera companies. For a long time, the vast Place des Manèges had welcomed visiting fairs and their merry-go-rounds, but the presence of the theater had since redeemed the square's prestige, and Guerra found himself in ideal surroundings.&lt;br /&gt;
&lt;br /&gt;
Born in Rome, Italy, Guerra (1790-1856) had started his career at Vienna's Circus Gymnasticus, under the management of the Latvian equestrian Christoph de Bach, whose daughter, Elisa, Alessandro had seduced and married. Then, in 1826, he had created his own company, which toured under the name (fashionable at the time) of ''Cirque Olympique''. After the death of his father-in-law, Guerra engaged into a bitter rivalry with de Bach's widow, the beautiful Laura de Bach, and then went on to compete against Ernst Renz in Berlin before settling in the Capital of All Russias. Guerra was a remarkable trick-rider, famous for his aggressive manner in the ring (which he also displayed in private life), and which got him a nickname: Il Furioso.&lt;br /&gt;
&lt;br /&gt;
The circus that Guerra built in St. Petersburg was a large, rectangular wooden building that looked a little like a hangar, but with a Grecian-style pediment adorned with equestrian scenes, and, above the public entrance, a little portico supported by six pillars. It was not very luxurious, but it was comfortable and well heated (an important detail in St. Petersburg, which the press duly reported) and was well lighted (another vital aspect to the citizens of St. Petersburg, berated as they were by endless winter nights). The stables housed fifty horses, and Guerra also built a coffeehouse adjacent to the circus itself.... ([[Russia's First National Circus|more...]])&lt;br /&gt;
&lt;br /&gt;
==New Essays and Biographies==&lt;br /&gt;
&lt;br /&gt;
* [[Pablo Noel]], Animal Trainer&lt;br /&gt;
* [[Big Apple Circus]], History&lt;br /&gt;
* [[Gerry Cottle]], Circus Owner&lt;br /&gt;
* [[Sarah Chapman]], Aerialist&lt;br /&gt;
* [[The 3 Bragazzi]], Comedy Acrobats&lt;br /&gt;
&lt;br /&gt;
==New Videos==&lt;br /&gt;
&lt;br /&gt;
* [[Espanas_Video_(1983)|The Flying Españas]], Flying Trapeze (1983)&lt;br /&gt;
* [[Wu_Zhengdan-Wei_Baohua_Video_(2008)|Wu Zhengdan &amp;amp; Wei Baohua]], Acrobatic Adagio (2008)&lt;br /&gt;
* [[Duo_Unity_Video_(2016)|Duo Unity]], Cyr Wheel (2016)&lt;br /&gt;
* [[Credo_Video_(2017)|Trio Credo]], Russian Barre (2017)&lt;br /&gt;
* [[Shirokalovi_Video_(2013)|Andrey &amp;amp; Natalya Shirokalov]], Leopard and Tiger Act (2013)&lt;br /&gt;
&lt;br /&gt;
==New Oral Histories==&lt;br /&gt;
&lt;br /&gt;
* [[BAC_Blumberg_Video_(1977)|''For A Moment You Fly'']], The First Season of The Big Apple Circus (1977)&lt;br /&gt;
* [[Durov_Documentary_Video_(c.2000)|Vladimir Durov Documentary]] on Russian Television (c.2000)&lt;br /&gt;
* [[Dolly_Jacobs_Interview_Video_(2018)|Dolly Jacobs Interview]] at The Ringling (2018)&lt;br /&gt;
* [[Pinito_del_Oro_RTE_Video_(1970)|Pinito del Oro's Interview]] on Spanish Television (1970)&lt;br /&gt;
* [[Eradze_Video_(2015)|Gia Eradze]]'s Interview on SSU TV (2015)&lt;br /&gt;
&lt;br /&gt;
==Circopedia Books==&lt;br /&gt;
&lt;br /&gt;
* [[Circopedia Books|Philip Astley &amp;amp; The Horsemen who invented the Circus]], by Dominique Jando (2018)&lt;br /&gt;
&lt;br /&gt;
==A Message from Dominique Jando==&lt;br /&gt;
&lt;br /&gt;
''CIRCOPEDIA is a constantly evolving and expanding archive of the international circus. New videos, biographies, essays, and documents are added to the site on a weekly&amp;amp;mdash;and sometimes daily&amp;amp;mdash;basis. Keep visiting us: even if today you don't find what you're looking for, it may well be here tomorrow! And if you are a serious circus scholar and spot a factual or historical inaccuracy, do not hesitate to [[Circopedia:Contact|contact us]]: we will definitely consider your remarks and suggestions.'' &lt;br /&gt;
&lt;br /&gt;
:'''Dominique Jando'''&lt;br /&gt;
:Founder and Curator&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=The_Espa%C3%B1a_Family&amp;diff=36472</id>
		<title>The España Family</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=The_Espa%C3%B1a_Family&amp;diff=36472"/>
				<updated>2021-08-12T22:49:51Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;* Video: [[Españas_Video_(1978)|The Españas, flying trapeze]], at Billy Smart's Christmas Circus (1978)&lt;br /&gt;
* Video: [[Espanas_Video_(1983)|The Flying Españas, flying trapeze]], at Ringling Bros. and Barnum &amp;amp; Bailey Circus (1983)&lt;br /&gt;
&lt;br /&gt;
[[Category:Artists and Acts|Españas]][[Category:Aerialists|Españas]][[Category:Flying Acts|Españas]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=Espanas_Video_(1983)&amp;diff=36471</id>
		<title>Espanas Video (1983)</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=Espanas_Video_(1983)&amp;diff=36471"/>
				<updated>2021-08-12T22:47:42Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;The Flying Españas (Ramón, Gladys and Carolina España, with catcher Carlos Filles) at [[Ringling Bros. and Barnum &amp;amp; Bailey]] Circus (1983)&lt;br /&gt;
&lt;br /&gt;
{{#ev:vimeo|586510209|740}}&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Biography: [[Flying Españas]]&lt;br /&gt;
&lt;br /&gt;
[[Category:Video Archive|Españas, Flying]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=Espanas_Video_(1983)&amp;diff=36470</id>
		<title>Espanas Video (1983)</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=Espanas_Video_(1983)&amp;diff=36470"/>
				<updated>2021-08-12T22:47:14Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: Created page with &amp;quot;The Flying Españas (Ramón, Gladys and Carolina, with catcher Carlos Filles) at Ringling Bros. and Barnum &amp;amp; Bailey Circus (1983)  {{#ev:vimeo|586510209|740}}  ==See Also=...&amp;quot;&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;The Flying Españas (Ramón, Gladys and Carolina, with catcher Carlos Filles) at [[Ringling Bros. and Barnum &amp;amp; Bailey]] Circus (1983)&lt;br /&gt;
&lt;br /&gt;
{{#ev:vimeo|586510209|740}}&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Biography: [[Flying Españas]]&lt;br /&gt;
&lt;br /&gt;
[[Category:Video Archive|Españas, Flying]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=Main_Page&amp;diff=36461</id>
		<title>Main Page</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=Main_Page&amp;diff=36461"/>
				<updated>2021-08-10T00:33:15Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: &lt;/p&gt;
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{| style=&amp;quot;width:100%; border:solid 0px; background:none;&amp;quot;&lt;br /&gt;
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&amp;lt;div style=&amp;quot;font-size:175%; border:none; margin:0; padding:.1em; color:#996666;&amp;quot;&amp;gt;Welcome! ✫ Bienvenue! ✫ Willkommen! ✫ Добро Пожаловать!&amp;lt;/div&amp;gt;&amp;lt;div style=&amp;quot;font-size:175%; border:none; margin:0; padding:.1em; color:#996666;&amp;quot;&amp;gt;Bienvenida! ✫ Benvenuto! ✫ 歡迎 ! ✫ Vítejte! ✫ Καλώς ήρθατε!&amp;lt;/div&amp;gt;&amp;lt;div style=&amp;quot;font-size:175%; border:none; margin:0; padding:.1em; color:#996666;&amp;quot;&amp;gt;Üdvözöljük! ✫ Добре Дошли! ✫ Welkom! ✫ Ласкаво Просимо!&amp;lt;/div&amp;gt;&amp;lt;div style=&amp;quot;font-size:165%; border:none; margin:0; padding:.1em; color:#996666;&amp;quot;&amp;gt;Velkommen! ✫ Tervetuloa! ✫ Дабро Запрашаем! ✫ Välkommen!&amp;lt;/div&amp;gt;&amp;lt;br/&amp;gt;&lt;br /&gt;
&amp;lt;div style=&amp;quot;top:+0.2em; font-size:98%;&amp;quot;&amp;gt; ''Circopedia was originally created with the support of the  Big Apple Circus Ltd. and inspired and funded by the [http://www.sdrubin.org/ Shelley &amp;amp; Donald Rubin Foundation]''.&amp;lt;/div&amp;gt;&amp;lt;br/&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
==In The Spotlight==&lt;br /&gt;
[[File:Alessandro_Guerra_(1838).jpg|right|300px]]&lt;br /&gt;
===RUSSIA'S FIRST NATIONAL CIRCUS AND CIRCUS SCHOOL===&lt;br /&gt;
&lt;br /&gt;
On November 22, 1845, the Italian equestrian Alessandro Guerra and his troupe gave their first performance in the circus they had just built on the old Place des Manèges&amp;amp;mdash;the &amp;quot;merry-go-round square&amp;quot;, today’s Theatre Square&amp;amp;mdash;in St. Petersburg, in the shadow of the stately Kamennyi Theatre (the &amp;quot;stone theatre&amp;quot;). The Kamennyi was also known as the Bolshoi Theatre (the &amp;quot;grand&amp;quot; theatre), and like its homonym in Moscow, it housed the Imperial Ballet and Opera companies. For a long time, the vast Place des Manèges had welcomed visiting fairs and their merry-go-rounds, but the presence of the theater had since redeemed the square's prestige, and Guerra found himself in ideal surroundings.&lt;br /&gt;
&lt;br /&gt;
Born in Rome, Italy, Guerra (1790-1856) had started his career at Vienna's Circus Gymnasticus, under the management of the Latvian equestrian Christoph de Bach, whose daughter, Elisa, Alessandro had seduced and married. Then, in 1826, he had created his own company, which toured under the name (fashionable at the time) of ''Cirque Olympique''. After the death of his father-in-law, Guerra engaged into a bitter rivalry with de Bach's widow, the beautiful Laura de Bach, and then went on to compete against Ernst Renz in Berlin before settling in the Capital of All Russias. Guerra was a remarkable trick-rider, famous for his aggressive manner in the ring (which he also displayed in private life), and which got him a nickname: Il Furioso.&lt;br /&gt;
&lt;br /&gt;
The circus that Guerra built in St. Petersburg was a large, rectangular wooden building that looked a little like a hangar, but with a Grecian-style pediment adorned with equestrian scenes, and, above the public entrance, a little portico supported by six pillars. It was not very luxurious, but it was comfortable and well heated (an important detail in St. Petersburg, which the press duly reported) and was well lighted (another vital aspect to the citizens of St. Petersburg, berated as they were by endless winter nights). The stables housed fifty horses, and Guerra also built a coffeehouse adjacent to the circus itself.... ([[Russia's First National Circus|more...]])&lt;br /&gt;
&lt;br /&gt;
==New Essays and Biographies==&lt;br /&gt;
&lt;br /&gt;
* [[Pablo Noel]], Animal Trainer&lt;br /&gt;
* [[Big Apple Circus]], History&lt;br /&gt;
* [[Gerry Cottle]], Circus Owner&lt;br /&gt;
* [[Sarah Chapman]], Aerialist&lt;br /&gt;
* [[The 3 Bragazzi]], Comedy Acrobats&lt;br /&gt;
&lt;br /&gt;
==New Videos==&lt;br /&gt;
&lt;br /&gt;
* [[Wu_Zhengdan-Wei_Baohua_Video_(2008)|Wu Zhengdan &amp;amp; Wei Baohua]], Acrobatic Adagio (2008)&lt;br /&gt;
* [[Duo_Unity_Video_(2016)|Duo Unity]], Cyr Wheel (2016)&lt;br /&gt;
* [[Credo_Video_(2017)|Trio Credo]], Russian Barre (2017)&lt;br /&gt;
* [[Shirokalovi_Video_(2013)|Andrey &amp;amp; Natalya Shirokalov]], Leopard and Tiger Act (2013)&lt;br /&gt;
* [[Spirin-Kotelnikov_Video_(2013)|Viacheslav Spirin &amp;amp; Stanislav Kotelnikov]], Hand-to-Hand Balancing (2013)&lt;br /&gt;
&lt;br /&gt;
==New Oral Histories==&lt;br /&gt;
&lt;br /&gt;
* [[BAC_Blumberg_Video_(1977)|''For A Moment You Fly'']], The First Season of The Big Apple Circus (1977)&lt;br /&gt;
* [[Durov_Documentary_Video_(c.2000)|Vladimir Durov Documentary]] on Russian Television (c.2000)&lt;br /&gt;
* [[Dolly_Jacobs_Interview_Video_(2018)|Dolly Jacobs Interview]] at The Ringling (2018)&lt;br /&gt;
* [[Pinito_del_Oro_RTE_Video_(1970)|Pinito del Oro's Interview]] on Spanish Television (1970)&lt;br /&gt;
* [[Eradze_Video_(2015)|Gia Eradze]]'s Interview on SSU TV (2015)&lt;br /&gt;
&lt;br /&gt;
==Circopedia Books==&lt;br /&gt;
&lt;br /&gt;
* [[Circopedia Books|Philip Astley &amp;amp; The Horsemen who invented the Circus]], by Dominique Jando (2018)&lt;br /&gt;
&lt;br /&gt;
==A Message from Dominique Jando==&lt;br /&gt;
&lt;br /&gt;
''CIRCOPEDIA is a constantly evolving and expanding archive of the international circus. New videos, biographies, essays, and documents are added to the site on a weekly&amp;amp;mdash;and sometimes daily&amp;amp;mdash;basis. Keep visiting us: even if today you don't find what you're looking for, it may well be here tomorrow! And if you are a serious circus scholar and spot a factual or historical inaccuracy, do not hesitate to [[Circopedia:Contact|contact us]]: we will definitely consider your remarks and suggestions.'' &lt;br /&gt;
&lt;br /&gt;
:'''Dominique Jando'''&lt;br /&gt;
:Founder and Curator&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=Guangdong_Acrobatic_Troupe&amp;diff=36460</id>
		<title>Guangdong Acrobatic Troupe</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=Guangdong_Acrobatic_Troupe&amp;diff=36460"/>
				<updated>2021-08-10T00:31:42Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: /* See Also */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Chinese Acrobatics==&lt;br /&gt;
&lt;br /&gt;
''By Dominique Jando''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The People's Republic of China is a multi-national country, an ancient civilization with a long history and a rich and brilliant culture. Over several millennia, its peoples have created many forms of performing arts, each of them characterized by a host of schools and styles. They have followed, for centuries, a linear evolution aimed towards the extreme refinement of the skills involved in a particular art form. &lt;br /&gt;
&lt;br /&gt;
Although China started contacts with non-Asian countries more than two thousand years ago, foreign influences were absorbed and rendered with a Chinese flavor for the sole benefit of that evolution. In this peculiarity lies the most important difference between Chinese and Western cultural traditions: The latter is more organic and open to new components, while the Chinese tradition aims towards the perfection of already known elements, and the integration of new elements into an existing mold.&lt;br /&gt;
&lt;br /&gt;
The Chinese Acrobatic Theater followed the same development pattern. Whereas European and American circuses were in a constant search for novelties and new techniques (driven in part by commercial needs, especially in the United States), Chinese acrobats limited their repertoire (although it came to include over two hundred different specialties&amp;amp;mdash;which is quite a number in any respect), but they constantly improved their presentation and increased the level of difficulty of the tricks involved, always striving to reach an elusive perfection.&lt;br /&gt;
&lt;br /&gt;
===The Show Of One Hundred Skills=== &lt;br /&gt;
&lt;br /&gt;
Historical records, carvings and mural paintings in tombs and grottos (such as the brick carvings discovered in the Han Dynasty tomb of Chengdu, in the Szechuan province) date the origins of Chinese Acrobatics more than two thousands years ago, during the Warring States period. They developed mostly during the Qin and Huan Dynasties (221 B.C.-230 A.D.) and reached a remarkable level of quality and refinement during the Western Huan Dynasty, evolving from a simple exhibition of skills into a performing art, with a rich and eclectic repertory including tumbling, balancing, plate spinning, pole balancing, rope dancing, etc. This acrobatic performance was known as ''The Show of One Hundred Skills''.&lt;br /&gt;
&lt;br /&gt;
After the founding of the People's Republic of China in 1949, the Chinese government, following its policy of &amp;quot;Let a hundred flowers blossom and weed through the old to bring forth the new,&amp;quot; brought about a spectacular renaissance of the Acrobatic Theater. Acrobatic troupes were created in each province and every major city, and were given their own theaters. The teaching was (and still is) done within the troupe, old performers training the new generation. These troupes experienced a serious setback during the Chinese Cultural Revolution (1966-1969), but only to see their vitality soaring afterward.&lt;br /&gt;
&lt;br /&gt;
===The Soldier Acrobatic Troupe of Guangzhou===&lt;br /&gt;
&lt;br /&gt;
The official name of what is known outside China as the Guangdong Acrobatic Troupe is in fact the ''Soldier Acrobatic Troupe of the Political Department of Guangzhou Military Region''. Based in Guangzhou (Canton), in the province of Guangdong, the troupe is managed by the Chinese Army; all its acrobats are part of the military, and wear their uniforms on official occasions&amp;amp;mdash;but they are nonetheless professional acrobats whose sole occupation is to perform. The Soldier Acrobatic Troupe was founded in October l951.&lt;br /&gt;
&lt;br /&gt;
The troupe is one of China's top acrobatic troupes, with more than 500 artists, a state-of-the-art theater in Gungzhou, and the most impressive collection of international awards in China: Seventeen of its acts won gold prizes in [[Festival Mondial du Cirque de Demain|Paris]] (including three ''Prix du Président de la République''), [[International Circus Festival of Monte Carlo|Monte Carlo]] (two Gold Clowns), Italy and Sweden, and thirteen other international awards (as of 2011). It has also produced some of the most lavish full-scale acrobatic shows in China, including a spectacular acrobatic version of ''Swan Lake'' that has toured with great success all over the world. &lt;br /&gt;
&lt;br /&gt;
The Guangdong Troupe has taken part in the making of fifteen documentaries and feature films, among which ''Heroes of Acrobatics'', produced by the Phoenix Film Studio in the l980s. They have toured in fifty-five countries and regions, and given more than 120 performances overseas. In 1991, President Jiang Zemin granted the title of ''Model Artists'' to the performers of the troupe. Ning Geng, Lu Huiping, Wang Tianfan, Luo Baoshan, Gao Junsheng, Lin Xiong, Gao Wenxiu, Sun Peng, Cao Linbao and Yang Dong are among the most famous artists of the Guangdong Acrobatic Troupe, along with the celebrated Wu Zhengdan and Wei Baohua, whose exceptional acrobatic adagio for ''Swan Lake'' won them a Gold Clown at the 26th International Circus Festival of Monte Carlo in 2002.&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* History: [[The Chinese Acrobatic Theater]]&lt;br /&gt;
* Video: [[Guangdong_Troupe_Banquine_Act_(1995)|The Guangdong Acrobatic Troupe, banquine and porté-lancé act]], 18th Festival Mondial du Cirque de Demain, Paris (1995)&lt;br /&gt;
* Video: [[Guangdong_Prinsessan_Video_(1995)|The Guangdong Acrobatic Troupe, banquine and porté-lancé act]], at the Cirkus Prinsessan Festival, Stockholm (1995)&lt;br /&gt;
* Video: [[Guangdong_Teeterboard_Video_(2004)|The Guangdong Acrobatic Troupe, teeterboard act]], at the Cirque d'Hiver in Paris (2004)&lt;br /&gt;
* Video: [[Guangdong_Banquine_Video_(2004)|The Guangdong Acrobatic Troupe, banquine and porté-lancé act]], at the Cirque d'Hiver in Paris (2004)&lt;br /&gt;
* Video: [[Wu_Zhengdan-Wei_Baohua_Video_(2008)|Wu Zhengdan-Wei &amp;amp; Baohua]], acrobatic adagio, in the French TV show ''Le plus grand cabaret du monde'' (2008)&lt;br /&gt;
* Video: [[Wu_Zhengdan_%26_Wei_Baohua_Video_(2011)|Wu Xhengdan &amp;amp; Wai Baohua, ''Swan Lake'']], acrobatic adagio (2011)&lt;br /&gt;
&lt;br /&gt;
[[Category:Artists and Acts|Guangdong Acrobatic Troupe]][[Category:Chinese Acrobatics|Guangdong Troupe]][[Category:Acrobats|Guangdong Acrobatic Troupe]][[Category:Porté-Lancé|Guangdong Acrobatic Troupe]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=Guangdong_Acrobatic_Troupe&amp;diff=36459</id>
		<title>Guangdong Acrobatic Troupe</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=Guangdong_Acrobatic_Troupe&amp;diff=36459"/>
				<updated>2021-08-10T00:30:56Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: /* See Also */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Chinese Acrobatics==&lt;br /&gt;
&lt;br /&gt;
''By Dominique Jando''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The People's Republic of China is a multi-national country, an ancient civilization with a long history and a rich and brilliant culture. Over several millennia, its peoples have created many forms of performing arts, each of them characterized by a host of schools and styles. They have followed, for centuries, a linear evolution aimed towards the extreme refinement of the skills involved in a particular art form. &lt;br /&gt;
&lt;br /&gt;
Although China started contacts with non-Asian countries more than two thousand years ago, foreign influences were absorbed and rendered with a Chinese flavor for the sole benefit of that evolution. In this peculiarity lies the most important difference between Chinese and Western cultural traditions: The latter is more organic and open to new components, while the Chinese tradition aims towards the perfection of already known elements, and the integration of new elements into an existing mold.&lt;br /&gt;
&lt;br /&gt;
The Chinese Acrobatic Theater followed the same development pattern. Whereas European and American circuses were in a constant search for novelties and new techniques (driven in part by commercial needs, especially in the United States), Chinese acrobats limited their repertoire (although it came to include over two hundred different specialties&amp;amp;mdash;which is quite a number in any respect), but they constantly improved their presentation and increased the level of difficulty of the tricks involved, always striving to reach an elusive perfection.&lt;br /&gt;
&lt;br /&gt;
===The Show Of One Hundred Skills=== &lt;br /&gt;
&lt;br /&gt;
Historical records, carvings and mural paintings in tombs and grottos (such as the brick carvings discovered in the Han Dynasty tomb of Chengdu, in the Szechuan province) date the origins of Chinese Acrobatics more than two thousands years ago, during the Warring States period. They developed mostly during the Qin and Huan Dynasties (221 B.C.-230 A.D.) and reached a remarkable level of quality and refinement during the Western Huan Dynasty, evolving from a simple exhibition of skills into a performing art, with a rich and eclectic repertory including tumbling, balancing, plate spinning, pole balancing, rope dancing, etc. This acrobatic performance was known as ''The Show of One Hundred Skills''.&lt;br /&gt;
&lt;br /&gt;
After the founding of the People's Republic of China in 1949, the Chinese government, following its policy of &amp;quot;Let a hundred flowers blossom and weed through the old to bring forth the new,&amp;quot; brought about a spectacular renaissance of the Acrobatic Theater. Acrobatic troupes were created in each province and every major city, and were given their own theaters. The teaching was (and still is) done within the troupe, old performers training the new generation. These troupes experienced a serious setback during the Chinese Cultural Revolution (1966-1969), but only to see their vitality soaring afterward.&lt;br /&gt;
&lt;br /&gt;
===The Soldier Acrobatic Troupe of Guangzhou===&lt;br /&gt;
&lt;br /&gt;
The official name of what is known outside China as the Guangdong Acrobatic Troupe is in fact the ''Soldier Acrobatic Troupe of the Political Department of Guangzhou Military Region''. Based in Guangzhou (Canton), in the province of Guangdong, the troupe is managed by the Chinese Army; all its acrobats are part of the military, and wear their uniforms on official occasions&amp;amp;mdash;but they are nonetheless professional acrobats whose sole occupation is to perform. The Soldier Acrobatic Troupe was founded in October l951.&lt;br /&gt;
&lt;br /&gt;
The troupe is one of China's top acrobatic troupes, with more than 500 artists, a state-of-the-art theater in Gungzhou, and the most impressive collection of international awards in China: Seventeen of its acts won gold prizes in [[Festival Mondial du Cirque de Demain|Paris]] (including three ''Prix du Président de la République''), [[International Circus Festival of Monte Carlo|Monte Carlo]] (two Gold Clowns), Italy and Sweden, and thirteen other international awards (as of 2011). It has also produced some of the most lavish full-scale acrobatic shows in China, including a spectacular acrobatic version of ''Swan Lake'' that has toured with great success all over the world. &lt;br /&gt;
&lt;br /&gt;
The Guangdong Troupe has taken part in the making of fifteen documentaries and feature films, among which ''Heroes of Acrobatics'', produced by the Phoenix Film Studio in the l980s. They have toured in fifty-five countries and regions, and given more than 120 performances overseas. In 1991, President Jiang Zemin granted the title of ''Model Artists'' to the performers of the troupe. Ning Geng, Lu Huiping, Wang Tianfan, Luo Baoshan, Gao Junsheng, Lin Xiong, Gao Wenxiu, Sun Peng, Cao Linbao and Yang Dong are among the most famous artists of the Guangdong Acrobatic Troupe, along with the celebrated Wu Zhengdan and Wei Baohua, whose exceptional acrobatic adagio for ''Swan Lake'' won them a Gold Clown at the 26th International Circus Festival of Monte Carlo in 2002.&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* History: [[The Chinese Acrobatic Theater]]&lt;br /&gt;
* Video: [[Guangdong_Troupe_Banquine_Act_(1995)|The Guangdong Acrobatic Troupe, banquine and porté-lancé act]], 18th Festival Mondial du Cirque de Demain, Paris (1995)&lt;br /&gt;
* Video: [[Guangdong_Prinsessan_Video_(1995)|The Guangdong Acrobatic Troupe, banquine and porté-lancé act]], at the Cirkus Prinsessan Festival, Stockholm (1995)&lt;br /&gt;
* Video: [[Guangdong_Teeterboard_Video_(2004)|The Guangdong Acrobatic Troupe, teeterboard act]], at the Cirque d'Hiver in Paris (2004)&lt;br /&gt;
* Video: [[Guangdong_Banquine_Video_(2004)|The Guangdong Acrobatic Troupe, banquine and porté-lancé act]], at the Cirque d'Hiver in Paris (2004)&lt;br /&gt;
* [[Wu_Zhengdan-Wei_Baohua_Video_(2008)|Wu Zhengdan-Wei &amp;amp; Baohua]], acrobatic adagio, in the French TV show ''Le plus grand cabaret du monde'' (2008)&lt;br /&gt;
* Video: [[Wu_Zhengdan_%26_Wei_Baohua_Video_(2011)|Wu Xhengdan &amp;amp; Wai Baohua, ''Swan Lake'']], acrobatic adagio (2011)&lt;br /&gt;
&lt;br /&gt;
[[Category:Artists and Acts|Guangdong Acrobatic Troupe]][[Category:Chinese Acrobatics|Guangdong Troupe]][[Category:Acrobats|Guangdong Acrobatic Troupe]][[Category:Porté-Lancé|Guangdong Acrobatic Troupe]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=Wu_Zhengdan-Wei_Baohua_Video_(2008)&amp;diff=36458</id>
		<title>Wu Zhengdan-Wei Baohua Video (2008)</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=Wu_Zhengdan-Wei_Baohua_Video_(2008)&amp;diff=36458"/>
				<updated>2021-08-10T00:28:50Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: Created page with &amp;quot;Wu Zhengdan and Wei Baohua, Acrobatic Adagio, in the French Television show ''Le plus grand cabaret du monde'' (2008) &amp;amp;mdash; ''Document: Magic TV''  {{#ev:vimeo|585129967|740...&amp;quot;&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Wu Zhengdan and Wei Baohua, Acrobatic Adagio, in the French Television show ''Le plus grand cabaret du monde'' (2008) &amp;amp;mdash; ''Document: Magic TV''&lt;br /&gt;
&lt;br /&gt;
{{#ev:vimeo|585129967|740}}&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Biography: [[Wu Zhengdan and Wei Baohua]]&lt;br /&gt;
&lt;br /&gt;
[[Category:Video Archive|Wu Zhengdan &amp;amp; Wei Baohua]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=Quatuor_Prilepin&amp;diff=36457</id>
		<title>Quatuor Prilepin</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=Quatuor_Prilepin&amp;diff=36457"/>
				<updated>2021-08-09T17:00:55Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Acrobats==&lt;br /&gt;
&lt;br /&gt;
* Video: [[Prilepin_Video_2019|Quatuor Prilepin, hand-to-hand balancing and banquine]], at the International Circus Festival of Monte Carlo (2019)&lt;br /&gt;
&lt;br /&gt;
[[Category:Artists and Acts|Prilepin, Quatuor]][[Category:Acrobats|Prilepin, Quatuor]][[Category:Hand-to-Hand Balancing|Prilepin, Quatuor]][[[[Category:Banquine|Prilepin, Quatuor]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=Prilepin_Video_2019&amp;diff=36456</id>
		<title>Prilepin Video 2019</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=Prilepin_Video_2019&amp;diff=36456"/>
				<updated>2021-08-09T16:57:02Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quatuor Prilepin, Banquine and Hand-to-Hand Balancing, at the 43th [[International Circus Festival of Monte Carlo]]. ''Music has been edited due a lack of sound on part of the video''(2019) &amp;amp;mdash; ''Document: SRF Television''&lt;br /&gt;
&lt;br /&gt;
{{#ev:vimeo|447973263|740}}&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Biography: [[Quatuor Prilepin]]&lt;br /&gt;
&lt;br /&gt;
[[Category:Video Archive|Prilepin Quatuor]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=Main_Page&amp;diff=36455</id>
		<title>Main Page</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=Main_Page&amp;diff=36455"/>
				<updated>2021-08-08T18:15:13Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;__NOTOC__  __NOEDITSECTION__&lt;br /&gt;
&amp;lt;!-- &lt;br /&gt;
&lt;br /&gt;
------------------------------Banner across top of page------------------------------&amp;gt;&lt;br /&gt;
{| id=&amp;quot;mp-topbanner&amp;quot; style=&amp;quot;width:100%; background:#fcfcfc; margin-top:1.2em; border:1px solid #ccc;&amp;quot;&lt;br /&gt;
|style=&amp;quot;width:56%; color:#0000&amp;quot;| &amp;lt;!-- &lt;br /&gt;
&lt;br /&gt;
-----------&amp;quot;Welcome to Circopedia&amp;quot; and article count----------&amp;gt;&lt;br /&gt;
{| style=&amp;quot;width:100%; border:solid 0px; background:none;&amp;quot;&lt;br /&gt;
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&amp;lt;div style=&amp;quot;font-size:175%; border:none; margin:0; padding:.1em; color:#996666;&amp;quot;&amp;gt;Welcome! ✫ Bienvenue! ✫ Willkommen! ✫ Добро Пожаловать!&amp;lt;/div&amp;gt;&amp;lt;div style=&amp;quot;font-size:175%; border:none; margin:0; padding:.1em; color:#996666;&amp;quot;&amp;gt;Bienvenida! ✫ Benvenuto! ✫ 歡迎 ! ✫ Vítejte! ✫ Καλώς ήρθατε!&amp;lt;/div&amp;gt;&amp;lt;div style=&amp;quot;font-size:175%; border:none; margin:0; padding:.1em; color:#996666;&amp;quot;&amp;gt;Üdvözöljük! ✫ Добре Дошли! ✫ Welkom! ✫ Ласкаво Просимо!&amp;lt;/div&amp;gt;&amp;lt;div style=&amp;quot;font-size:165%; border:none; margin:0; padding:.1em; color:#996666;&amp;quot;&amp;gt;Velkommen! ✫ Tervetuloa! ✫ Дабро Запрашаем! ✫ Välkommen!&amp;lt;/div&amp;gt;&amp;lt;br/&amp;gt;&lt;br /&gt;
&amp;lt;div style=&amp;quot;top:+0.2em; font-size:98%;&amp;quot;&amp;gt; ''Circopedia was originally created with the support of the  Big Apple Circus Ltd. and inspired and funded by the [http://www.sdrubin.org/ Shelley &amp;amp; Donald Rubin Foundation]''.&amp;lt;/div&amp;gt;&amp;lt;br/&amp;gt;&lt;br /&gt;
|}&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
==In The Spotlight==&lt;br /&gt;
[[File:Alessandro_Guerra_(1838).jpg|right|300px]]&lt;br /&gt;
===RUSSIA'S FIRST NATIONAL CIRCUS AND CIRCUS SCHOOL===&lt;br /&gt;
&lt;br /&gt;
On November 22, 1845, the Italian equestrian Alessandro Guerra and his troupe gave their first performance in the circus they had just built on the old Place des Manèges&amp;amp;mdash;the &amp;quot;merry-go-round square&amp;quot;, today’s Theatre Square&amp;amp;mdash;in St. Petersburg, in the shadow of the stately Kamennyi Theatre (the &amp;quot;stone theatre&amp;quot;). The Kamennyi was also known as the Bolshoi Theatre (the &amp;quot;grand&amp;quot; theatre), and like its homonym in Moscow, it housed the Imperial Ballet and Opera companies. For a long time, the vast Place des Manèges had welcomed visiting fairs and their merry-go-rounds, but the presence of the theater had since redeemed the square's prestige, and Guerra found himself in ideal surroundings.&lt;br /&gt;
&lt;br /&gt;
Born in Rome, Italy, Guerra (1790-1856) had started his career at Vienna's Circus Gymnasticus, under the management of the Latvian equestrian Christoph de Bach, whose daughter, Elisa, Alessandro had seduced and married. Then, in 1826, he had created his own company, which toured under the name (fashionable at the time) of ''Cirque Olympique''. After the death of his father-in-law, Guerra engaged into a bitter rivalry with de Bach's widow, the beautiful Laura de Bach, and then went on to compete against Ernst Renz in Berlin before settling in the Capital of All Russias. Guerra was a remarkable trick-rider, famous for his aggressive manner in the ring (which he also displayed in private life), and which got him a nickname: Il Furioso.&lt;br /&gt;
&lt;br /&gt;
The circus that Guerra built in St. Petersburg was a large, rectangular wooden building that looked a little like a hangar, but with a Grecian-style pediment adorned with equestrian scenes, and, above the public entrance, a little portico supported by six pillars. It was not very luxurious, but it was comfortable and well heated (an important detail in St. Petersburg, which the press duly reported) and was well lighted (another vital aspect to the citizens of St. Petersburg, berated as they were by endless winter nights). The stables housed fifty horses, and Guerra also built a coffeehouse adjacent to the circus itself.... ([[Russia's First National Circus|more...]])&lt;br /&gt;
&lt;br /&gt;
==New Essays and Biographies==&lt;br /&gt;
&lt;br /&gt;
* [[Pablo Noel]], Animal Trainer&lt;br /&gt;
* [[Big Apple Circus]], History&lt;br /&gt;
* [[Gerry Cottle]], Circus Owner&lt;br /&gt;
* [[Sarah Chapman]], Aerialist&lt;br /&gt;
* [[The 3 Bragazzi]], Comedy Acrobats&lt;br /&gt;
&lt;br /&gt;
==New Videos==&lt;br /&gt;
&lt;br /&gt;
* [[Duo_Unity_Video_(2016)|Duo Unity]], Cyr Wheel (2016)&lt;br /&gt;
* [[Credo_Video_(2017)|Trio Credo]], Russian Barre (2017)&lt;br /&gt;
* [[Shirokalovi_Video_(2013)|Andrey &amp;amp; Natalya Shirokalov]], Leopard and Tiger Act (2013)&lt;br /&gt;
* [[Spirin-Kotelnikov_Video_(2013)|Viacheslav Spirin &amp;amp; Stanislav Kotelnikov]], Hand-to-Hand Balancing (2013)&lt;br /&gt;
* [[Veronika_Teslenko_Video_(2013)|Veronika Teslenko]], Aerial Straps (2013)&lt;br /&gt;
&lt;br /&gt;
==New Oral Histories==&lt;br /&gt;
&lt;br /&gt;
* [[BAC_Blumberg_Video_(1977)|''For A Moment You Fly'']], The First Season of The Big Apple Circus (1977)&lt;br /&gt;
* [[Durov_Documentary_Video_(c.2000)|Vladimir Durov Documentary]] on Russian Television (c.2000)&lt;br /&gt;
* [[Dolly_Jacobs_Interview_Video_(2018)|Dolly Jacobs Interview]] at The Ringling (2018)&lt;br /&gt;
* [[Pinito_del_Oro_RTE_Video_(1970)|Pinito del Oro's Interview]] on Spanish Television (1970)&lt;br /&gt;
* [[Eradze_Video_(2015)|Gia Eradze]]'s Interview on SSU TV (2015)&lt;br /&gt;
&lt;br /&gt;
==Circopedia Books==&lt;br /&gt;
&lt;br /&gt;
* [[Circopedia Books|Philip Astley &amp;amp; The Horsemen who invented the Circus]], by Dominique Jando (2018)&lt;br /&gt;
&lt;br /&gt;
==A Message from Dominique Jando==&lt;br /&gt;
&lt;br /&gt;
''CIRCOPEDIA is a constantly evolving and expanding archive of the international circus. New videos, biographies, essays, and documents are added to the site on a weekly&amp;amp;mdash;and sometimes daily&amp;amp;mdash;basis. Keep visiting us: even if today you don't find what you're looking for, it may well be here tomorrow! And if you are a serious circus scholar and spot a factual or historical inaccuracy, do not hesitate to [[Circopedia:Contact|contact us]]: we will definitely consider your remarks and suggestions.'' &lt;br /&gt;
&lt;br /&gt;
:'''Dominique Jando'''&lt;br /&gt;
:Founder and Curator&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=Francis_Perreault&amp;diff=36454</id>
		<title>Francis Perreault</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=Francis_Perreault&amp;diff=36454"/>
				<updated>2021-08-08T18:12:52Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: Redirected page to Duo Unity&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;#REDIRECT: [[Duo Unity]]&lt;br /&gt;
&lt;br /&gt;
[[Category:Artists and Acts|Perreault, Francis]][[Category:Acrobats|Perreault, Francis]][[Category:Roue Cyr|Perreault, Francis]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=L%C3%A9a_Toran-Jenner&amp;diff=36453</id>
		<title>Léa Toran-Jenner</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=L%C3%A9a_Toran-Jenner&amp;diff=36453"/>
				<updated>2021-08-08T18:09:44Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: Redirected page to Duo Unity&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;#REDIRECT: [[Duo Unity]]&lt;br /&gt;
&lt;br /&gt;
[[Category:Artists and Acts|Toran-Jenner, Léa]][[Category:Acrobats|Toran-Jenner, Léa]][[Category:Roue Cyr|Toran-Jenner, Léa]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=Duo_Unity&amp;diff=36452</id>
		<title>Duo Unity</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=Duo_Unity&amp;diff=36452"/>
				<updated>2021-08-08T18:07:41Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Cyr Wheel==&lt;br /&gt;
&lt;br /&gt;
Léa Toran-Jenner and Francis Perreault.&lt;br /&gt;
&lt;br /&gt;
* Video: [[Duo_Unity_Video_(2016)|Duo Unity, Cyr wheel]], at the ARoma diner-show in Belgium (2016)&lt;br /&gt;
&lt;br /&gt;
[[Category:Artists and Acts|Unity Duo]][[Category:Acrobats|Unity Duo]][[Category:Roue Cyr|Unity Duo]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=Duo_Unity&amp;diff=36451</id>
		<title>Duo Unity</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=Duo_Unity&amp;diff=36451"/>
				<updated>2021-08-08T18:07:17Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Cyr Wheel==&lt;br /&gt;
&lt;br /&gt;
Léa Toran-Jenner and Francis Perreault.&lt;br /&gt;
&lt;br /&gt;
* Video: [[Duo_Unity_Video_(2016)|Duo Unity, Cyr wheel, at the ARoma diner-show in Belgium (2016)&lt;br /&gt;
&lt;br /&gt;
[[Category:Artists and Acts|Unity Duo]][[Category:Acrobats|Unity Duo]][[Category:Roue Cyr|Unity Duo]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=Duo_Unity&amp;diff=36450</id>
		<title>Duo Unity</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=Duo_Unity&amp;diff=36450"/>
				<updated>2021-08-08T18:06:29Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: Created page with &amp;quot;==Cyr Wheel==  Léa Toran-Jenner and Francis Perreault.  * Video: Duo_Unity_Video_(2016)|Duo Unity, Cyr wheel, at the ARoma diner-show in Belgium (2016)  [[Category:Artists...&amp;quot;&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Cyr Wheel==&lt;br /&gt;
&lt;br /&gt;
Léa Toran-Jenner and Francis Perreault.&lt;br /&gt;
&lt;br /&gt;
* Video: [[Duo_Unity_Video_(2016)|Duo Unity, Cyr wheel, at the ARoma diner-show in Belgium (2016)&lt;br /&gt;
&lt;br /&gt;
[[Category:Artists and Acts|Unity Duo]][[Category:Acrobats|Unity Duo]][[Category:Cyr Wheel|Unity Duo]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=Duo_Unity_Video_(2016)&amp;diff=36449</id>
		<title>Duo Unity Video (2016)</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=Duo_Unity_Video_(2016)&amp;diff=36449"/>
				<updated>2021-08-08T18:01:00Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: Created page with &amp;quot;Duo Unity, Cyr wheel, at the ARoma Diner Show in Belgium (2016)   {{#ev:vimeo|584587182|740}}  ==See Also==  * Biography: Duo Unity  Unity, Duo&amp;quot;&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Duo Unity, Cyr wheel, at the ARoma Diner Show in Belgium (2016) &lt;br /&gt;
&lt;br /&gt;
{{#ev:vimeo|584587182|740}}&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Biography: [[Duo Unity]]&lt;br /&gt;
&lt;br /&gt;
[[Category:Video Archive|Unity, Duo]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=Les_Castors&amp;diff=36448</id>
		<title>Les Castors</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=Les_Castors&amp;diff=36448"/>
				<updated>2021-08-06T21:40:33Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;[[File:Moustier_Family.jpg|right|400px]]&lt;br /&gt;
==Icarists, Foot Jugglers==&lt;br /&gt;
&lt;br /&gt;
''By Dominique Jando''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The Castors may well be one of the longest running acrobatic acts in show business, with a uninterrupted career that spans more than a half-century. Even though their act has changed in appearance and details through five decades, it has remained the same in form&amp;amp;mdash;a mixture of foot juggling and risley act, which, over the years, has been increasingly interspersed with touches of comedy.&lt;br /&gt;
&lt;br /&gt;
Toly (Anatole, b. 1943), Charly (Charles, b. 1945), and Eddy (Edouard, b. 1949) were all born in Paris, France: In spite of incessant family travels, their mother, being of Russian origin, believed that having all her children born in the French capital would ease the intricate French administrative procedures. Their father, Louis Dedessus le Moutier (1910-2004), was fourth generation of an old French circus family; Nona, their mother, was born [[The Bedinis|Bedini]], a celebrated Russian circus family of Italian origins.&lt;br /&gt;
&lt;br /&gt;
===The Dedessus le Moutier Family===&lt;br /&gt;
&lt;br /&gt;
The family’s surname, Dedessus le Moutier, is rather ancient and may have old aristocratic roots. One might regret, however, that no romantic tale exists in the family lore of a noble ancestor who would have fallen in love with a beautiful ropedancer or equestrienne, and left a respectable and sedentary lifestyle to follow her on the road: For once, at least, it could have had a ring of truth.&lt;br /&gt;
&lt;br /&gt;
[[Image:Cirque_de_Dessus-le-Moustier_(c.1900).jpg|thumb|left|400px|left|Cirque de Dessus le Moustier (c.1900)]]The first Dedessus le Moutier known to have joined the circus was a woman, Marie-Célestine, whose son, Alphonse, created the Cirque Moustier. Alphonse had no less than ten children; one of them, Charles, was Louis’s father and the grandfather of Toly, Charly, Eddy, and their sister, Nora (b. 1938, first married to [[Rodolphe Gruss]] [1938-1964], then to the clown [[Les Chabri|Toto Chabri]]).&lt;br /&gt;
&lt;br /&gt;
The name seems to have been originally spelled Dedessus le Moustier, and the family became known in the circus world simply as Moustier. But the spelling of itinerant performers’ names often changed with the transcripts of local permits, the various circumstances of life on the road, and, in our case, even the complaints of distant, upright relatives: At some point, the Cirque Moustier became Cirque ''de Dessus le Moustier'', a truly aristocratic spelling, which thumbed its nose at some sedentary Dedessus le Moustiers who had objected to seeing their name disgraced on the façade of a circus!&lt;br /&gt;
&lt;br /&gt;
Louis Dedessus le Moutier and his brother, Emilien, worked in every possible capacity in their family’s circus, before creating their own knockabout acrobatic act, ''Les Frères Moustier''. When performing at the French [[Cirque Bureau]], Louis met [[The Bedini Family|Nona Bedini]], who worked in the same program with her family’s famous risley act. The rest, as they say, is history.  &lt;br /&gt;
&lt;br /&gt;
Louis and his wife created a hand-to-hand balancing act, and then, with Emilien and several partners, an acrobatic troupe, ''Les Arabes Blancs'', later known as ''Les Dallys'', with which they worked in their own Cirque Moustier. Toly was the first of the brothers to join the troupe in 1951, at age eight (his sister, Nora, had preceded him). Charly made his debut in 1956, and Eddy in 1958.&lt;br /&gt;
&lt;br /&gt;
===Les Castors===&lt;br /&gt;
&lt;br /&gt;
[[Image:Les_Castors_with_clock.jpg|thumb|right|300px|Les Castors (2009)]]With the addition of their children in the ring, Louis and Nona began to put together their own family act, which would eventually become Les Castors.  It found its definite form over the years, with the inclusion of foot juggling, first, and then some icarism&amp;amp;mdash;specialties that were indeed familiar to Nona. Toly also became a proficient juggler, and eventually created his own juggling act in the [[Béla Kremo|Kremo]] style, under the stage name of Toly M.&lt;br /&gt;
&lt;br /&gt;
Originally, the family presented their act in Native-American costumes. The name &amp;quot;Castors&amp;quot; came from ''The Red Ryder'' comics, of which Toly was fond; the Red Ryder had a young Native-American sidekick named Little Beaver (''Petit Castor'' in French), and the young Moustiers thus became known as Les Castors&amp;amp;mdash;a name they will keep into adulthood.  Nora left the act when she married Rodolphe Gruss in 1962, and Nona left at the same time. By then, Toly was twenty, and Charly and Eddy were in their late teens; the act finally became theirs, their father just assisting them.&lt;br /&gt;
&lt;br /&gt;
Throughout their long career, Les Castors have been featured in practically every major European circus, as well as in every major variety theater. They even performed at the [[Circus Nikulin|&amp;quot;Old Circus&amp;quot;]] on Tsvetnoy Boulevard in Moscow and at the [[Circus Ciniselli|&amp;quot;Circus on the Fontanka&amp;quot;]] in Leningrad (today the Circus Ciniselli in St. Petersburg) with ''Le Cirque Français'', the first western circus troupe to visit the USSR in 1960, and participated in a Royal Variety Performance for Queen Elizabeth II on the occasion of her Silver Jubilee in 1977.&lt;br /&gt;
&lt;br /&gt;
The Castors have also worked with [[Ringling Bros. and Barnum &amp;amp; Bailey]] in Stuttgart, Germany, during its short-lived European engagement in 1963; at Sun City Casino, Bophuthatswana, in South Africa; and in North Korea, Japan, Israel, and the Arab Emirates, among other countries. After they had played the Circus Circus Hotel and Casino in Las Vegas in 1975, their father left the act, and went to teach acrobatics at [[Annie Fratellini’s]] Ecole Nationale du Cirque in Paris. The Castors have since continued their long career on their own.&lt;br /&gt;
&lt;br /&gt;
In the past two decades (as of 2014), Toly, Charly and Eddy Castors, as they are known in the business, have worked extensively in varieté shows in Germany and the U.S., most notably with Teatro ZinZanni in San Francisco and Seattle, and Palazzo Varieté in Vienna, Bale, Mannheim, and Stuttgart&amp;amp;mdash;for both of which organizations they have also written and directed shows. Additionally, they have run a regular variety show, ''Les rendez-vous du Musicool'', at the [[Cirque d’Hiver]]’s &amp;quot;Théâtre de la Ménagerie&amp;quot; in Paris. &lt;br /&gt;
&lt;br /&gt;
They still work seasonally today, notably in German varieté, although Charly lives in Seattle, in the United States, (where he had a French cooking show on local television!) and his brothers live in France, where they also pursue their own personal interests&amp;amp;mdash;Eddie directing shows, Toly writing and drawing cartoons, among other activities.&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Video: [[Les_Castors_Video_(1971)|Les Castors, icarists]], at Paris's Cirque d'Hiver (1971)&lt;br /&gt;
* Video: [[Les_Castors_Video_%281973%29|Les Castors, icarists]], at Circus Knie (1973)&lt;br /&gt;
&lt;br /&gt;
==Suggested Reading==&lt;br /&gt;
&lt;br /&gt;
* Toly Castors, ''L'Éloge du cirque &amp;amp;mdash; Les loges du cirque'' (Padova, Papergraf, 2011) &amp;amp;mdash; ISBN 978-2-7466-2837-3&lt;br /&gt;
&lt;br /&gt;
==Image Gallery==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;Gallery&amp;gt;&lt;br /&gt;
Image:Cirque_de_Dessus-le-Moustier_(c.1900).jpg|Cirque de Dessus le Moustier (c.1900)&lt;br /&gt;
Image:Les_Castors_at_Cirque_Medrano.jpeg|Les Castors at Cirque Medrano (1956)&lt;br /&gt;
Image:Les_Castors_and_the_Rickshaw_Bros.jpeg|Les Castors at Circus Wilkie (c.1960)&lt;br /&gt;
File:Moustier_Family.jpg|The Dedessus Le Moutier Family (1973)&lt;br /&gt;
Image:Toly_M.jpg|Toly M. (c.1975)&lt;br /&gt;
Image:Charlie_Castors_and_Les_Castors_(1999).jpg|Les Castors at Teatro ZinZanni (1999)&lt;br /&gt;
Image:Toly_Castors_at_Teatro_ZinZanni.jpg|Toly Castors at Teatro Zinzanni (2009)&lt;br /&gt;
Image:Charly_Castors.jpg|Charly Castors&lt;br /&gt;
Image:Charly_Castors_at_Teatro_ZinZanni.jpg|Charly Castors at Teatro ZinZanni (2009)&lt;br /&gt;
Image:Eddy_Castors.jpg|Eddy Castors&lt;br /&gt;
Image:Eddy_%26_Charly_Castors_at_Teatro_ZinZanni.jpg|Les Castors at Teatro ZinZanni (2009)&lt;br /&gt;
Image:Les_Castors_at_Teatro_ZinZanni.jpg|Les Castors at Teatro ZinZanni (2009)&lt;br /&gt;
Image:Les_Castors_with_clock.jpg|Les Castors (2009)&lt;br /&gt;
&amp;lt;/Gallery&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==External Link==&lt;br /&gt;
&lt;br /&gt;
* [http://www.mouvance.com/castors/index.htm www.mouvance.com/castors]&lt;br /&gt;
&lt;br /&gt;
[[Category:Artists and Acts|Castors, Les]][[Category:Foot Jugglers|Castors, Les]][[Category:Risley_Acts_(Icarists)|Castors, Les]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=Les_Castors&amp;diff=36447</id>
		<title>Les Castors</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=Les_Castors&amp;diff=36447"/>
				<updated>2021-08-06T21:39:12Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: /* Image Gallery */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Icarists, Foot Jugglers==&lt;br /&gt;
&lt;br /&gt;
''By Dominique Jando''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The Castors may well be one of the longest running acrobatic acts in show business, with a uninterrupted career that spans more than a half-century. Even though their act has changed in appearance and details through five decades, it has remained the same in form&amp;amp;mdash;a mixture of foot juggling and risley act, which, over the years, has been increasingly interspersed with touches of comedy.&lt;br /&gt;
&lt;br /&gt;
Toly (Anatole, b. 1943), Charly (Charles, b. 1945), and Eddy (Edouard, b. 1949) were all born in Paris, France: In spite of incessant family travels, their mother, being of Russian origin, believed that having all her children born in the French capital would ease the intricate French administrative procedures. Their father, Louis Dedessus le Moutier (1910-2004), was fourth generation of an old French circus family; Nona, their mother, was born [[The Bedinis|Bedini]], a celebrated Russian circus family of Italian origins.&lt;br /&gt;
&lt;br /&gt;
===The Dedessus le Moutier Family===&lt;br /&gt;
&lt;br /&gt;
The family’s surname, Dedessus le Moutier, is rather ancient and may have old aristocratic roots. One might regret, however, that no romantic tale exists in the family lore of a noble ancestor who would have fallen in love with a beautiful ropedancer or equestrienne, and left a respectable and sedentary lifestyle to follow her on the road: For once, at least, it could have had a ring of truth.&lt;br /&gt;
&lt;br /&gt;
[[Image:Cirque_de_Dessus-le-Moustier_(c.1900).jpg|thumb|left|400px|left|Cirque de Dessus le Moustier (c.1900)]]The first Dedessus le Moutier known to have joined the circus was a woman, Marie-Célestine, whose son, Alphonse, created the Cirque Moustier. Alphonse had no less than ten children; one of them, Charles, was Louis’s father and the grandfather of Toly, Charly, Eddy, and their sister, Nora (b. 1938, first married to [[Rodolphe Gruss]] [1938-1964], then to the clown [[Les Chabri|Toto Chabri]]).&lt;br /&gt;
&lt;br /&gt;
The name seems to have been originally spelled Dedessus le Moustier, and the family became known in the circus world simply as Moustier. But the spelling of itinerant performers’ names often changed with the transcripts of local permits, the various circumstances of life on the road, and, in our case, even the complaints of distant, upright relatives: At some point, the Cirque Moustier became Cirque ''de Dessus le Moustier'', a truly aristocratic spelling, which thumbed its nose at some sedentary Dedessus le Moustiers who had objected to seeing their name disgraced on the façade of a circus!&lt;br /&gt;
&lt;br /&gt;
Louis Dedessus le Moutier and his brother, Emilien, worked in every possible capacity in their family’s circus, before creating their own knockabout acrobatic act, ''Les Frères Moustier''. When performing at the French [[Cirque Bureau]], Louis met [[The Bedini Family|Nona Bedini]], who worked in the same program with her family’s famous risley act. The rest, as they say, is history.  &lt;br /&gt;
&lt;br /&gt;
Louis and his wife created a hand-to-hand balancing act, and then, with Emilien and several partners, an acrobatic troupe, ''Les Arabes Blancs'', later known as ''Les Dallys'', with which they worked in their own Cirque Moustier. Toly was the first of the brothers to join the troupe in 1951, at age eight (his sister, Nora, had preceded him). Charly made his debut in 1956, and Eddy in 1958.&lt;br /&gt;
&lt;br /&gt;
===Les Castors===&lt;br /&gt;
&lt;br /&gt;
[[Image:Les_Castors_with_clock.jpg|thumb|right|300px|Les Castors (2009)]]With the addition of their children in the ring, Louis and Nona began to put together their own family act, which would eventually become Les Castors.  It found its definite form over the years, with the inclusion of foot juggling, first, and then some icarism&amp;amp;mdash;specialties that were indeed familiar to Nona. Toly also became a proficient juggler, and eventually created his own juggling act in the [[Béla Kremo|Kremo]] style, under the stage name of Toly M.&lt;br /&gt;
&lt;br /&gt;
Originally, the family presented their act in Native-American costumes. The name &amp;quot;Castors&amp;quot; came from ''The Red Ryder'' comics, of which Toly was fond; the Red Ryder had a young Native-American sidekick named Little Beaver (''Petit Castor'' in French), and the young Moustiers thus became known as Les Castors&amp;amp;mdash;a name they will keep into adulthood.  Nora left the act when she married Rodolphe Gruss in 1962, and Nona left at the same time. By then, Toly was twenty, and Charly and Eddy were in their late teens; the act finally became theirs, their father just assisting them.&lt;br /&gt;
&lt;br /&gt;
Throughout their long career, Les Castors have been featured in practically every major European circus, as well as in every major variety theater. They even performed at the [[Circus Nikulin|&amp;quot;Old Circus&amp;quot;]] on Tsvetnoy Boulevard in Moscow and at the [[Circus Ciniselli|&amp;quot;Circus on the Fontanka&amp;quot;]] in Leningrad (today the Circus Ciniselli in St. Petersburg) with ''Le Cirque Français'', the first western circus troupe to visit the USSR in 1960, and participated in a Royal Variety Performance for Queen Elizabeth II on the occasion of her Silver Jubilee in 1977.&lt;br /&gt;
&lt;br /&gt;
The Castors have also worked with [[Ringling Bros. and Barnum &amp;amp; Bailey]] in Stuttgart, Germany, during its short-lived European engagement in 1963; at Sun City Casino, Bophuthatswana, in South Africa; and in North Korea, Japan, Israel, and the Arab Emirates, among other countries. After they had played the Circus Circus Hotel and Casino in Las Vegas in 1975, their father left the act, and went to teach acrobatics at [[Annie Fratellini’s]] Ecole Nationale du Cirque in Paris. The Castors have since continued their long career on their own.&lt;br /&gt;
&lt;br /&gt;
In the past two decades (as of 2014), Toly, Charly and Eddy Castors, as they are known in the business, have worked extensively in varieté shows in Germany and the U.S., most notably with Teatro ZinZanni in San Francisco and Seattle, and Palazzo Varieté in Vienna, Bale, Mannheim, and Stuttgart&amp;amp;mdash;for both of which organizations they have also written and directed shows. Additionally, they have run a regular variety show, ''Les rendez-vous du Musicool'', at the [[Cirque d’Hiver]]’s &amp;quot;Théâtre de la Ménagerie&amp;quot; in Paris. &lt;br /&gt;
&lt;br /&gt;
They still work seasonally today, notably in German varieté, although Charly lives in Seattle, in the United States, (where he had a French cooking show on local television!) and his brothers live in France, where they also pursue their own personal interests&amp;amp;mdash;Eddie directing shows, Toly writing and drawing cartoons, among other activities.&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Video: [[Les_Castors_Video_(1971)|Les Castors, icarists]], at Paris's Cirque d'Hiver (1971)&lt;br /&gt;
* Video: [[Les_Castors_Video_%281973%29|Les Castors, icarists]], at Circus Knie (1973)&lt;br /&gt;
&lt;br /&gt;
==Suggested Reading==&lt;br /&gt;
&lt;br /&gt;
* Toly Castors, ''L'Éloge du cirque &amp;amp;mdash; Les loges du cirque'' (Padova, Papergraf, 2011) &amp;amp;mdash; ISBN 978-2-7466-2837-3&lt;br /&gt;
&lt;br /&gt;
==Image Gallery==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;Gallery&amp;gt;&lt;br /&gt;
Image:Cirque_de_Dessus-le-Moustier_(c.1900).jpg|Cirque de Dessus le Moustier (c.1900)&lt;br /&gt;
Image:Les_Castors_at_Cirque_Medrano.jpeg|Les Castors at Cirque Medrano (1956)&lt;br /&gt;
Image:Les_Castors_and_the_Rickshaw_Bros.jpeg|Les Castors at Circus Wilkie (c.1960)&lt;br /&gt;
File:Moustier_Family.jpg|The Dedessus Le Moutier Family (1973)&lt;br /&gt;
Image:Toly_M.jpg|Toly M. (c.1975)&lt;br /&gt;
Image:Charlie_Castors_and_Les_Castors_(1999).jpg|Les Castors at Teatro ZinZanni (1999)&lt;br /&gt;
Image:Toly_Castors_at_Teatro_ZinZanni.jpg|Toly Castors at Teatro Zinzanni (2009)&lt;br /&gt;
Image:Charly_Castors.jpg|Charly Castors&lt;br /&gt;
Image:Charly_Castors_at_Teatro_ZinZanni.jpg|Charly Castors at Teatro ZinZanni (2009)&lt;br /&gt;
Image:Eddy_Castors.jpg|Eddy Castors&lt;br /&gt;
Image:Eddy_%26_Charly_Castors_at_Teatro_ZinZanni.jpg|Les Castors at Teatro ZinZanni (2009)&lt;br /&gt;
Image:Les_Castors_at_Teatro_ZinZanni.jpg|Les Castors at Teatro ZinZanni (2009)&lt;br /&gt;
Image:Les_Castors_with_clock.jpg|Les Castors (2009)&lt;br /&gt;
&amp;lt;/Gallery&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==External Link==&lt;br /&gt;
&lt;br /&gt;
* [http://www.mouvance.com/castors/index.htm www.mouvance.com/castors]&lt;br /&gt;
&lt;br /&gt;
[[Category:Artists and Acts|Castors, Les]][[Category:Foot Jugglers|Castors, Les]][[Category:Risley_Acts_(Icarists)|Castors, Les]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	<entry>
		<id>https://www.circopedia.org/index.php?title=File:Moustier_Family.jpg&amp;diff=36446</id>
		<title>File:Moustier Family.jpg</title>
		<link rel="alternate" type="text/html" href="https://www.circopedia.org/index.php?title=File:Moustier_Family.jpg&amp;diff=36446"/>
				<updated>2021-08-06T21:36:52Z</updated>
		
		<summary type="html">&lt;p&gt;DjandoAdmin: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;The Castors and their family at [[Circus Knie]]. From left to right: Choura, Charly's wife; Charly and his son Eric; Toly (seated in front); Eddy; Louis Dedessus Le Moutier, their father, and, at he window, their mother Nona, née Bedini. (1973) &amp;amp;mdash; ''Photo X''&lt;br /&gt;
&lt;br /&gt;
==See Also==&lt;br /&gt;
&lt;br /&gt;
* Biography: [[Les Castors]]&lt;br /&gt;
&lt;br /&gt;
[[Category:Photo Archive|Castors, Les]]&lt;/div&gt;</summary>
		<author><name>DjandoAdmin</name></author>	</entry>

	</feed>